Principles of Food Photography
Okay so now we're gonna talk about food photography since we just met jim um okay uh so this is kind of uh a foundational bones framework of how to photograph food here's where we come with the instructional part okay so our hearts are still intact but now we're going to talk about principles um okay, so uh did this advanced or was that the first photograph? Huh? All right, sorry about that. Ok, so food photography I shoot studio stuff I definitely shoot cookbooks and I shoot editorial food for magazines like silver so I'm gonna run through a few of these photographs on dh feel free at any point and this goes for you all as well to interrupt me for any questions because I don't want to miss any questions uh I don't want to go. We'll have more time tomorrow too but if you have any technical questions anything, just go for it. Um this is actually the book that they just gave away this from asian dumplings. Andrian wins book this is a cookbook I just shot last year. This is actually a gre...
at story. So I get this call from actually right after I spoke at foodie stas international food bloggers conference here in seattle, I got a call from a publisher who was in the audience when I spoke and offered me a cookbook project um and I'm leaving out parts of it but let me back up! We were on the bus together and she was like, I think I have a project I'd like for you to do, and she talked to me about this one project, which I was like, I'd love to do it, and then she said, there's, this other project, I think maybe you could do, but I don't know really be interested in it remember how I said that? I really don't want to make pictures that I don't take every assignment, you know, not I don't want tio I don't want my heart to be engaged when I taken assignment, I want to be enthusiastic inspired, so she was like, oh, it's, this diabetic cookbook, but I don't think you really want to do that, and I said to her, yeah, I probably don't want to, but thank you. So then a week passes, I get back to texas and I get a phone call from an editor from this publishing house. It says, hey, we have a cookbook. We'd like for you to shoot it's, a diabetic cookbook, it's, the same publisher, and I was like, uh, I thought, I, uh well you know, I was really confused so I hung up the phone and I call the publisher and I said, hey, we were on the boss remember and you said you didn't think I would want to do that and I told you yeah I don't really want to and I don't want to be rude but I don't know that I really want to shoot this project and she was like okay, okay, well I just wanted to put it out there because I wondered if maybe you could bring something new to it and I thought okay all right, well yeah, I'm not really sure it's for me so I hang up the phone and I go that night and I'm having dinner with my partner and we're talking I was like, oh so remember that publisher like she called me and offered me this book and it was a diabetic cookbook and I was like, I'm not really interested in that, you know, it's not sexy no, I mean like, you know, I just it just it didn't seem like something I could be inspired by, um and she looked at me and said, oh my god, I'm so disappointed in you she said diabetes is an epidemic in this country there are people out there who have been diagnosed with this and feel like they have no hope left and you're always talking about food being sexy and hot and appetizing, and you have a chance to engage this community of people and inspire them and help them realize that their life hasn't ended because they have diabetes. And I was like, mother efforts like call the publisher of the next morning, and I was like, I'd love to do this book, um, and it's true it's so true, and I did it, and we made some great pictures at a great stylist on dh. So this is one of the photographs from that and that, like, you know, I'm always learning I'm always learning this is s o this is this assignment I did for texas monthly magazine, and I'm you know, they're like, hey, I blogged about this, uh, hey, we have this new restaurant that just opened, and we need thio make some pictures at it, and so I said, okay? And they were, like, maybe shoot this is my conversation with photo editor, and they were like, she was, like, maybe shoot this this and this thestreet dishes, and I was, like, cool, and I was like, who's the writer, and she told me that the writer was and I was, like, cool, so I know the writer and I called the writer and I said, hey, so you went, you ate there, what did you like? And she told me the three things which were the ones that the editor mentioned, but then she said, but you know what? I really didn't like this one thing, and the other one wasn't so pretty, and I was like, so what did the one that you like? You know? So we had this conversation basically, about what worked and what didn't work. Um, so I was doing my research before I even showed up, so I didn't have I don't have a budget for an assistant for this, for this type of shoot. So I was doing all my research so that when I showed up, I was fully prepared, so I knew walking in the door's, there were two things I was going to look at, so when the chef showed up, I said, how does this look plated? And so we talked about it, and he was like, oh, it's on a white plates con cave, and it gets cut and the fries on the side and I was like, yeah, no let's, look for a so that plate is what they actually put it in the oven and cook it so it's, crusty and weather, and I was like, that's it let's played it on that and then just give me the fries and I'll you know, so the fries are in like, a freestanding basket that it's just like no it's not doesn't translate, so then I just threw the fries on the top of the on the top and it didn't start out like this like I went through several iterations to get to this, but all this to tell you that I am discuss, I'm doing my research, I'm making my phone calls, I'm showing up and I'm still kind of exploring it. Um so does that make sense? Uh, this is a book I did on vegan desserts. I just shut that last year. Um, agent dumplings. Okay, so here we go into so this is my philosophy about food photography and a lot of it is dictated by because I work for silver and and I travel a lot, so everything I do is an organic approach, which means I shoot natural light it's really food? I don't use any fake food. Um, there are exceptions, but for the majority, usually almost ninety nine point nine percent of time it's real I'm trying to think if there's an instance where it's been something that wasn't real and I'm sure there is, but it would have been like an element of it, like we put something on the in this syrup to make it thicker in the mabel served to make it thinkers that when it poured it poured and had a slower drip does that make sense so you wouldn't eat that that would be a on example of not being a real food uh beautiful ingredients this is the key to making great food photographs if you're cooking your own food and you're going to photograph it do not go to randall's or safeway or wherever it is no offence I shouldn't say no names huh? Crap okay I would go to the farmer's market and get food uh get your produce their uh natural light I said that earlier but so I'm shooting one hundred percent natural lights when I walk in an environment the first thing I'm looking for is where is the best life that's the first question I'm asking where's the best light and sometimes it's coming from the bank of windows sometimes there is no great light um and then you're having to solve a problem and we'll get to that um this is a this is the first cover I ever shop for silver I shot it in their studio which he said it it's not a studio it's a conference room but for this photograph it was literally in the the the woman that does that proof reading it was in her little her little cubicle where there was a window with blinds and I open the blinds slightly and I defused it a little bit so that I could see some of the blinds was about breakfast, so so this isn't like in a fancy studio, this is like makeshift make it work photography and it's still translates and communicate so there's no reason why you couldn't be using these same tricks the same principles and make just a strong of images, ingredients, shots so again, you're starting with really nice produce, you're going to the market, but especially store to find those interesting ingredients that that are beautiful. You have to start with something beautiful. If you do not start with something beautiful, you will not end with something great. You won't, um so do yourself a favor and take the time and seek out the best ingredients that you confined. Um, this was a story I did in greece and we actually I shot this. We went to this husband and wife live on this island called keya and they have small little cooking school. It was like a dream. It was amazing that felt like a vacation. I was inspired, um, like two blocks from the water's holy cow instead of falling sleep on our mega tree, I went swimming on this one. This was amazing, and so this was under a under, like on her patio that I had a food stylist I had one of the kitchen editors with me from silver and so they were probably holding a reflector to defuse the light and all these were just knives that she had and plates so I sourced everything from her kitchen so when I show up to a place unlike pulling out all any plates or knives or force anything that has character I'm not pulling stuff that looks like it came from a major department store um because I think it would be distracting uh you really want the food to be the point of interest again you're always thinking about ingredients okay, so what makes a good food photograph light kate that's the most important thing your quality of light think about that whenever you walk into any place where's my light coming from color so think about the color of the food if you're shooting a food that is dull like oatmeal yeah you're going to need to infuse some color in that so your background you might want to punch it with some a nice color texture um or have your utensils be color or texture so if your food doesn't have color you need put color in the scene some how does that make sense composition? This is something you will learn over time um and it starts by just looking practicing you're looking looking at images as much as you can online in magazines in cookbooks, that's a great way to grow actually look at cookbooks I when I was starting, just getting into food photography and subversive me on that first assignment to chile actually went to the bookstore and sat in the aisle and pulled out every food book I could find and just thumb through it, and I thought, ok, okay, all right, all right, no. And so just, like, needed to exercise my eye so that I could be inspired and understand what it was that made these pictures good. What made them great? So I was thinking about composition. I was thinking about light, I was thinking about color, um, food subject. Okay, so if you are picking the content of your subjects, if you if you have the liberty, if you're producing it for, uh, you're blogged or you're gonna photograph a cookbook or if you're going to a restaurant and they sent on assignment, pick your subjects really well, so I wouldn't have picked I'm trying to think what I'm when I went to shoot that steak shot, one of the other dishes was this sausage, squid stuffed, no sausage stuffed squid. Um, and it just was kind of pale, there was a sauce on it, and it just didn't. It was complicated it looked complicated if someone looked at the photograph they would have thought what is it so I was like yeah I want it to be an immediate visual read I want to give people um I want to alleviate the eye so it's not complicated when they look at it so you're thinking about your food subject in the context of if it is a complicated subject then you've got to break it down sit more simple so that I can read it um okay appetizing food so make your food beautiful pick your subject well based on how beautiful it is if your food already looks great that's like ninety percent of it that is it this's it's not it's not difficult this is that's like it that's the most important thing if I have if I have a great looking dish I'm inspired I am pumped I'm motivated tomorrow we pick some kick butt looking food I'm like oh I'm excited to photograph it so that's it you will you will walk away successful if you choose food that looks really good um this was that I told you about that chef in los gatos where he was like holding the scrim for me and he made me he asked me to try it and how I liked it was amazing so this is all natural light this is diffused in a patio at five p m with a reflector on one side it's not studio at all that is natural light there's a legion of photographers out there that used natural light in a way that makes you think it is completely one hundred percent artificially lit and it's not to me food is most appetising when it is seen in its true essence this is the way you should see it honey can we talk about this lighting the lighting because of course you're talking to okay hundreds of photographers here huh? You know what they want to know about quiting so you keep saying natural light natural light obviously there's some photos that are being taken in studio with us natural light everything yep you never use lightning never never flat not one never nothing nothing nothing done so there's you guys hear that she's done answer not from the answer is just taking my job isn't that cover was deaf done yep. Okay. Okay. All right no, I'm just kidding you know, all of it is natural light I'd there are exceptions but everything I'm showing you his natural life I mean, that is like ninety nine point not I mean, jim said it too I mean that that's it I can't there are exceptions, but the best photographs I make are natural light and that's what I live by you're used to this response from photographers you sat in a room with I could name like three or four photographers who shoot the same way and you you're like that it's not possible but it is its natural light and we're gonna will break that down tomorrow I'll help you get there hopefully the it'll click for you and you'll understand how you can get this it's it's the basic principles of photography um all right, well, that's cool. Yeah, so I don't see the question in here, but I remember it, so I'm not sure who had asked it, but the question was, when you're shooting food from straight down how do you avoid getting your shadow your person shut on? Oh, because the lights coming from the side so it's never behind me? Yeah, unless you know, I'm in a restaurant in the light is behind it. Then I'll move, you know, move the whole set maybe talk a few questions about that. About that top angle you talk a little bit more of that choice because it seems like a lot of you. Oh, yeah. Yea, so that angle and also people were also mentioning the fact that there they're not horizontal many or not. Wait, we talked about this yesterday. Uh, okay, so I think food is very graphic on dh, so I accentuate that that, uh, that visual part of the food, so to me, a lot of it is best seen from birdseye not all of it there are moments with food when I get a lot of questions about this where food has height you don't want to shoot you want to show that height so you shooting in a three quarter were side view um so I make that artistic choice to shoot from overhead that is my decision based on if it lends itself graphically let's talk about this because if you're seeing this picture let's say you would have shot it from like three quarter or side view you're gonna miss it this is look at the strong graphic elements in this photograph um that's a no brainer if if the food if you're shooting food that has a really strong graphic element check it out from overhead shoot it from overhead shoot it from the side I mean, I'm I'm shooting everything from varied angles until I find the one that works I think I answered that. Thank you. Thank you. Okay, um again okay, so I'm using textures here we talked about like bland food um so great. Okay, this came out thank god the person making the bread put this lined paper in there which gave it such energy okay, imagine it without that it's not the same picture, so you want to infuse energy in your food photographs um this natural light I went to the market with a food stylist we're doing a test shoot well let's just go to the market and photograph let's pick ingredients and do a food shoot based on what we find um and this is that the san francisco ferry plaza and there was ah vendor there that was selling these sandwiches and I was like they were beautiful and so we just recreated an interpretation of it um we took the inspiration of that idea and made this picture so again in this case it's an overhead shot and that's because we styled it like that the stylist styled and I wanted to play on these colors which to me made it more graphic made it more visual it elevated it think about if I would have shot it through the side view would have been the same picture at all even if you uh it's this is like a flat sandwich so this is really the way you should see it. Um uh okay again it's a bland food it's um so normally when it served its not serve like this I'm forgetting what this is kathleen it's ah italian put a lentil polenta thinking I didn't forget what it was I forgot the word so the rest of this was for a cookbook on I should tell you this story before I go any further um it was a cookbook shoot I did and the sub the authors sourced the entire cookbook from uh a chain that um wasn't great and they bought all the ingredients like the week before so when me and the stylist showed up in arizona to shoot this book it was a nightmare um so we had to basically reinterpret and kind of breathe life into all these recipes which didn't have great produce we had to go out and buy some more but we ran into some budget constraints so it was like kind of a nightmare shoot someone asked me about a nightmare shoot earlier this would have been one but it actually six we pulled it off so this is polenta normally it's not served like that but it could be so we just this was a vegetarian cookbook and so we re interpreted it and put color on it which is the veggies so there's no reason why you could do the same thing you can translate and interpret food very differently and stuff like this can be written into a recipe like very easily primary camera angles in food photography okay these air these air starting points um so overhead uh three quarter view I'm gonna give you examples of these here in a minute and side view or straight so that's overhead that's the cover of the asian dumpling book again this is a graphic. The reason I shot this overhead was because that was just I mean that's the way that has to be seen it's such a shallow subject going into tight you asked me about vertical how come I don't shoot horizontally yeah okay so I think food most sane you're you're shooting horizontally you've got to fill that frame up I need to fill the frame completely up with subject a lot of food doesn't isn't wide it is definitely more vertical I'll give you some more example of that but so if I shoot this with a horizontal that doesn't work I'm gonna have all this space I'm gonna have all this table right here and if I get tighter it starts to become confusing on what the hell that isthe so shooting it vertical cleans it up makes it easily read and isn't too tight you don't want to get too close to food that's probably the biggest problem I see with food photographers that were starting out as they get way too close like they put on their macro lens and it's like I want to see that crumb on the edge of that bread and I'm like why if I have to guess what something is it's not it's not a great photograph so this is three quarter or side looking inside view if you do this photograph it's usually happens with height anything like a sandwich or anything that has hype you always want to be aware of your background and your background should some way contribute to your four ground it should tell a story and again textures so we used thiss board kind of playing off the red that was in the burger so I'm I'm thinking to myself I want my eye to travel through the frame I want I want someone to look at this get hungry I want them to kind of there I to go through that frame but also just stay engaged I'm tryingto infuse a creative devices to make that photograph interesting does that make sense? We can talk about creative devices you know, we talk about depth of field and a lot of people are asking about the field of course, yeah, you want to get into that later or no let's talk about it? S o depth of field would be something that you would worry about in this photograph on dh obviously that's a hamburger in the back, so I didn't need it define I didn't need like a minute depth of field, so I couldn't let that go blurry. Um but you know what that is? You know, that's, another burger in the back. So you think about the depth of field when you're when you're in a three quarter of ur side view your depth of field can't be distracting from your foreground or you're the primary subject, whatever that is uh, which is your foreground so whatever you're doing with your depth of field just be conscious that it can't distract from your foreground does that make sense so typically it's not always out of focus but it's soft I shouldn't say typically but it can be and from the top you are you are you ever shoot it like a one point four from austria depends on how much light I have. Okay, yeah, it just it depends on the subject if it has a lot of death uh it depends, but typically I'm I'm I'm probably like five six on most of my things, okay, if I can get it uh more eight eleven itjust depends it depends on my light source, but food can be forgiving and I can I can I can work with it. I can shoot slower if I need teo I can up my eyes so I can also punch more light in by using a reflector there's a lot of things you can do to bring up your, uh to bring up the pulling more light and giving you a little bit more depth of field but not too much. It really depends on the subject but it's more of a rule tio not be so wide open with food to keep I mean, if you're shooting at five point six or eight you're not style of photography is not to be shooting at like a one point eight or not necessarily okay, you can do that. It really depends on the subject, ok? It depends on the food because some food you need to give it the depth of field, other food you don't and then you know if it's ifyou've got really bad light and you're stretching your f stop but your subject doesn't really need a lot of depth of field it's a pizza we'll say you're cool and you're shooting it over head go for it two point eight one point for whatever does that make sense? But if it's hambor and you're doing a three quarter shot, you want a little bit of that background as like information so you want you want you want to open up a little? I mean, you want to close down a little bit and get like, five, six, eleven something like that talking a little bit about the overhead christie lent has a question with being in a wheelchair off and had a hard time getting over head shots because being at the wrong height can you give these justin's toe use a chair, do use latter? Do you just stand over it? I always use ladders are stand on chairs ladders were standing yeah, yeah, okay, so why very camera angles for visual pacing, so in a portfolio and your website in a book, whatever it is you can't you don't want to do the same angle when you're pairing photograph so you change your angles you switch that up, you've gotto give people their eyes uh uh visual alleviation so you're changing your angles for the creative process, exploring the image so in the same way that you asked me, do you zoom and I said no, this is the same thing you have to, uh you change your angle so that you can explore the subject it's the same thing in the same way that I'm moving around a market are moving around people as they're eating I'm doing the same thing with food, so I am changing my angle and I'm physically moving around it to see where it looks the best I'm turning the plate, I'm doing all these different things and you do this because not everything looks good from the same angle, obviously. So those prime on the street three primary angles I'm doing almost on every dish unless it's a no brainer like a pizza or something that that's I mean, all these rule these air not rules, but these air guidelines really all of them will can be broken these air just like starting points for you to consider when you're approaching food okay, this is another example your side view you want your background to contribute but not be distracting ingredients, shots shooting it from a different angle using color and composition to breathe life into an image um so these actually gets steamed and I wanted to keep him in the steamer but they disappeared a little bit with this backgrounds we just put a plate under it and then put a lot of sauce so they separated so you're kind of re interpreting the food and it also makes it really sexy it gives it like you want to jump in there and eat um yeah, so so we looked at it before it even got to this place and then we added the sauce and then we had the chives on top, so we're doing several stages of exploring the food again this was a no brainer super graphic visual it's lobster the color was amazing so I was thinking color composition, graphic nous I tryto have two or three of those words in every photograph then I know that I've elevated that image does that make sense? So I'm always thinking about color composition, light graphic I wanna have one or two two or three of those words in every photograph if I can and then I have heightened that image to where it's it's better than average it's it's going to engage the viewer it's going to stop him there's gonna be pause again? This was these were put on a cake and I saw them come out of the oven and I just like the way they look so the stylists and I just found a crusty plate with an interesting background and I made a still life. This wasn't part of the job or anything. I just thought it was cool in this actually ran in the book it's like the table of contents, so using available light light direction you always think about where your lights coming from hopefully it's from the side from some way and you can change your association to the light obviously to make it from the side. But if it's overhead okay, we'll get there we'll get there light quality so what is the light like so in here it's pretty diffused right? But let's say that these windows were clear and the light was shining through then it's direct light and you have to defuse that. All right, so like quality so where's my light coming from and what is my light like? Okay, then based on those two answers you have to make decisions on doing need to defuse it. How do I modify it? What needs to be done so that this light is perfect for photography? Okay, I showed his picture it's uh it's this asian tofu dish um it's like certain really, really soft tofu and it's served and so I was at the chinese restaurant this was a shoot and it was fluorescent lighting and it was ugly and there wasn't a single window in the place I went to the uh I went to the back where the kitchen was I propped up in the door I put a trash can to hold the door and I put the food there this isn't a great picture I'm showing you this as an example of if you can't if you can't there's no great light go find it so go to the alley, open the door let that beautiful light stream in and actually the people at the restaurant really upset they're like you can't believe you're putting our food on it trash can what the hell are you doing? And I was like and I showed them the picture they're like oh, let me get you another dish they were so excited same thing I just changed my background I found like a cardboard box so this is the same assignment and I love that it's chipped there you know? I just wanted it to feel riel and again it's in a bowl you couldn't have shot this from any other angle that's the way they played it food um yeah it's that direct overhead yeah, um this was a studio shoot I did it's over um and we did several it orations of this image shot from very different angles on in the end I like this one the most because of the movement I felt like the frame so again, it's color composition. Um, yeah, and, you know, we just we messed it out. The stylist kind of, like, started throwing stuff. I mean, you know, yeah, yes. Messi is the new black this's a food shoot I did in l a this really fancy chef and she brought out her dish and I had my fixer holding the diffuser and he wanted to eat it. He was actually a block a food blogger. Um and this was just beautiful, so it had color. Interesting composition. The light was perfect. It was nice and bright and this it felt more like a painting or a piece of art, so I was just like, I'm just gonna leave this alone. I mean, I worked it a little bit in terms of like I put a fork, I took some of it out and I made it look like it was eaton and itjust this was it. This this was this was this was the photograph. This was the way to see it this is okay, so three quarter view, this is from the dumpling book again, and so okay you've got matching tones here and so you're just gonna break it up so you put cem tissue um some parchment paper under it editing and dish okay this is this is key when you're shooting food um so when a plate comes out and it's plated and perfect edit it take stuff out put stuff on the side break one open I call that editing a dish okay cut into it simulate like it's being eaten um so when this came out this was that actually at someone's house and it was in a pan it wasn't a roasting pan you know like you would think enchiladas would be they had this salad stacked up in the potatoes it was like a mound of food knows that you know so we went back to the kitchen we uh put the enchiladas on a separate plate and just put like a fraction of the sides and then I shot it like that and then I just kind of kept working through it until I got this image which I felt like I started to feel really appetizing and made me hungry this I did it I'm joking uh so again you're just like this isn't this is this dish was supposed to be plated on a plate with a spoon or a fork and it came out of the oven with a grouping like this and I was like this is how we should see it so a lot of times I'll shoot the dish before it ever hits a plate because I feel like it gives it this amazing sense of it gives us amazing feeling and emotion, you know? So think about the food before it ever hits the plate and your photographs maybe they're the crust year the dish the better too again before it ever hit the plate that the chef put thes tamales on a on a ripped up towel and I was like, I love that so we move that entire idea just on set and we created it hey, there was question earlier from the internet about whether you shoot food as it's being prepared yeah, totally I shoot the whole process, it depends how much time I have I try to stay focused, but yeah for sure a lot of times if I if I have time I'll shoot them preparing food and just watch photograph completely not making these pictures yet, but I'm getting an essence where like in the line from that food in preparation to where it hits the plate, where does it look the best? Okay, so that state gets pan seared and then gets thrown in the oven, but then on that white plate it doesn't look so sexy, but when it's in the oven and it comes out pan seared it's hot, it looks really appetizing if I cut that open, put a fork and a knife on each side, throw that in beautiful light. I'm done so I've kind of studied the subject as it's gone through all its stages of final prepared, played a dish, and then from there I decide where it looks the best, and sometimes I go through that whole process before I ever find it. Like I'll actually photograph of the hallway if I have time um, cool created devices used to change the tone and pace of food, we have echoed these already. So food and preparation. This is kind of just a recap, meal in process so way just looked at those so thinking about food before it ever hits the plate, thinking about cutting into the food, reinterpreting it and eating it for the photograph as a way to kind of make it more interesting. These are examples of that this is food and preparation. This was shot at the server studio. This is the receptionist, this is jim's assistant, that is, I don't know who, but my point is, is that all these people this was completely worn ever since stage? Um, so simulating an idea based on you know, we just wanted we wanted to feature the food, but see it differently without just seeing a photograph of that, although that would be a great photograph, too, but I think we wanted to infuse more energy in the scene. You could do the same things at home. That's an office window. I'm up on a ladder, probably reflector a big piece of four by six like white foam core right here, just bouncing the light back into the scene. Um, this was its cupcakes, and I was just trying to elevate them. I was trying to make him look better than just a cupcake, you know? So I threw crumbs and we took a bite out this was actually I was working in the stylist, so we went through several iterations before he got to this cupcakes are hard because we all kind of know what they look like, and so the challenge is to elevate that in the same sense that I was like, hey, you gotta don't do your cliches, push yourself to go beyond your cliches. Ingredient shots can be really beautiful, and they're wonderful introductions to an idea, so and they're they're great, because there, you know, if you find great stuff, you could put it together pretty easily. So think about those as a way to kind of re interpret a dish or a kn idea or an introduction of an idea of food. So again it meal in process I'm always looking at dirty spoons I think they're just they're just beautiful um that wasn't a great quote was it okay so this wasn't even on set the stylist was like putting this together and I just said that's it let's shoot that and I love that it was messy and dirty and we just put it we put it in the set where the light was nice and that's how we shot it and maybe it makes me want to dig in that's my goal is doesn't make me hungry okay here's someone eating it never hits her mouth but it simulates that idea you know so again another interpretation take it put it in someone's hand you know simulate this idea of being eaten can I ask you a question yeah I don't think you should touch on this but petrie got gale in the chat room can you talk about how often you style it versus you have a style of style it cover that already didn't cover that do you want yeah no totally onda lot of these we could cover tomorrow too okay and if you want to do it tomorrow you could just let's talk about that tomorrow well she asked that tomorrow we'll just let him know everyone chapman that would like to know about stylist for penny stolen food we're gonna talk about that let's talk about that tomorrow that's a great conversation okay and we're almost to the end so we can all go eat lunch uh this is a food photography class come on, we're hungry. Internet these guys were like rabbits okay me a camera and this is a recap camera angles ok think about your camera angles all this is what you need to have in your mind when you're making food photographs camera angles light edit your food photograph food preparation photograph a meal in process okay, all those is a photograph one two, three, four, five these are five different ways to photograph one dish you shouldn't be doing this every single time does that make sense? Sona plate comes out you're you're changing your camera angles you're vary in your life you're editing it you're photographing it in preparation okay? Ford ever hits the plate and then you're doing it in process you're going to get somebody down and they're going put a fork through through it or you're going to put a bullet through it. Does that make sense? You should be doing that with every single plate your photographs will improve one hundred percent that I'm not lying. That is the trick start that these air practices that you can do this good habits to create better photographs now they're all writing they perked up and that's it do you have any questions? You guys have any questions? Actually I have one question this is kind of mixing the two things together but when you were talking more about the culture photography before kind of the culture around the food and now talking about the food photography do you have a certain style in the way that you like teo do your photography do you do like manual priority when you're doing food and then switched aperture when you're doing the culture around it everybody should never shoot program or anything in fact thank you for mentioning that I think I think that there is a serious difference in making photographs and taking them and that starts with shooting in manual read your manual understand your tools let it become second nature so much that you understand that well I'm just surprised I'd sometimes it's hard you know you hear a lot of wedding photographers switch to aperture priority when they're doing the in and out of light and I would in when you're doing your the culture shooting aspect of it where you switch it's good no I should hundred percent manual because I know how I want to expose the seen and the camera won't explain the way I work it won't ever so I'm always thinking about the light the camera's just thinking about the scene right does that make sense yeah very cool so all of you should be shooting in manual if you are photographers you gotta learn your tools understand your tools learn your trade make photographs, shooting manual like, I can't say that enough. Okay?