Food Photography

 

Food Photography

 

Lesson Info

Shoot 5: Asian Noodle Soup

What is the next one is uh that I'm not going but you know so we've got rice needles and I got really beautiful asian herbs chilies and clear broth cool so it's not murky and then that's it in a little bit of slice you call so that I could feel it coming on it's gonna be great just slices of that you buy that or do you think I bought it I went with and take me to this barbecue king's barbecue yeah like the alleged oxen everything thing peace okay, so let's pick two bowls for our soup might be a little bit yeah it's a little big good work I'm gonna put stuff on bonta hold that little scene yeah sort of a pot pot okay, so students shooting this also no they're going to shoot a version of this but not more shit right and I could do to you could take out a whole city she'll probably wide yeah it's a little bit yeah so the noodles are our flat and they have so we can design those noodles in a swirl cool you don't want to get to you like to you yes that's kind of you but they'll be organized...

it won't be like I just want a design in there okay would you like not to know not like that I want I want something I want a little energy you know what I know uh I trust you care and you know this so what do you think this one is that too is it too narrow no it's good it's good okay school that you have two of those right dude okay once good just the one yeah okay so are you shooting there should be no one because it's just gonna go this way I don't know if it's being should go that way well we talked about doing the noodles really strong graphically okay so you want yeah I guess it is a little I'm thinking about having a little couple economist dishes when me with chili oil and one with limes and make it so it could be three things around it and then of course it's got a little six yeah would you flat if you've got solid stuff maybe but well there's the little thing mean but what I have uh e don't have to do is also I have some of my little little gas maybe this'll have to wait here this guy you know or whatever okay what I'm hank no just kidding alright daughters not to use him she's getting better uh no let's change it let's decide light it so we'll move the tables yeah so surface yeah I don't want to go to uni yeah yeah maybe we'll sideline it and it's getting brighter in here it must be sunny out shot are you crazy? Yeah well sideline it and so uh karen let's talk surfaces yeah you're on it well not good oh that's cool is the writing on the other it's a little bit I love that but I mean that was just distracting you that's a little distracting yeah is what is their stuff on the other side too I think we might need more surface thiss off and you ended up here can you try to make her e think this is too strong these lines will be strong you could be lying now know this like what about that thiss material that's kind of busy too I think you did khalil so that it's yeah I see fine so wait just what about the news oh yeah these people just to distract me and I was just you like I'm asian okay then anyone sorry about that especially myself uh let's see okay what about uh have a nice was super graphic I could work something out here and try that so originally like this the energy is all he is yeah so these are going to get like this is going to be tight yeah so waken frame and see what yeah let's see what we have bring for we might not need all that other stuff but this one might also be a good one to have like some more negative space and have these little condom a tree I mean what this is a focus. Yeah, maybe croft you have solid like white soul it counter tom surface it's pretty boring but you know if you just want something dead clean you know we'll see sterile yeah no, I think that white plate let's go let's go in that vein I don't want it to feel like what we just shot so we have to be aware of that um that's the last one yeah, sure with this marcus I think we should put it in this I like this group and I know we already shot yeah, yeah, that would be a nightmare for that no, I know this will be nice and I don't know how much of it will see okay, so yeah, but I love the idea we could bring the fun table over to a few just want a piece of uh the farmer I don't think we're gonna need that this is gonna be so continued tight and if we go wide way frame it and then I'm not gonna mess up anything till I get some framed but let me give you you're going to stand no, I think that's a world I don't know that we're going to see her that background this storm in some water just a bowl of cool john I'm gonna need a ladder and my camera uh can I get my camera there's also uh yeah, I think that might be too much shape I don't know let's put it off for just a minute you have a double I'm gonna decide let's suit so yeah let's move this transition okay, so, uh do you want us to reorient the table so you have I'm just gonna put a lot of right there. You know what? I can I'll use the green one too if if we need to that's fine, I can take a question while we're kind of setting up okay, we'll make it a hard one. Yeah. Um david in seattle would like to know how much creative control your generally given over an assignment one hundred percent if it's an editorial shoot usually it's just like we need we're doing we're gonna feature this recipe and I'm in the field photographing and it's I try to find the best one I can and then I photograph it, you know? So sometimes it's sometimes it's uh, yeah, it's a hundred percent of however I want to see it for the most part. Uh, no, I think I did have. Well, of course I had to grow into it. Yeah, I think when I did when I first started it was hard for me, like when the play would come, I would just shoot it, um and I wouldn't explore it as much, um and I I felt confined because there were a lot of stuff there was a lot of stuff happening around me and so I felt like I needed to get that, you know? And so I wouldn't spend as much time on the food. But then when I realized my food, my food photographs warrant as successful as the other photographs. I wanted to spend more time on the food so that I could bring that up to so that when I went out into the field, both could stand on their own. You know, um, I don't e want to boast to be good, you know? Wow. Uh, yeah. I'm gonna go check on my photograph here. Okay. Cool. Wait. Yeah. Thank you. That's. Kind of the tapes. Pretty funky down. Can you re just, uh, how much time? About, you know, maybe five minutes way print that other hero. Wait before we have over there. You okay? Can I can I ask you one more question? Yeah. How many shots to shoot in a day and you feel as the day goes on, the quality of your images goes or down. Ah, that's a good question. Yeah, I could go up and it could go down to because you get really tired, um so I think average six to eight you know it just depends it really depends it's sixty eight shots it depends yeah sixty eight maybe ten it just depends on you know what you're shooting what budget you have how much the client wants but you you shoot sixty eight shots are you that's how that's the keeper's so you shoot how many pitched eight sets ok six to eight different dishes oh I see so how many shot how many frames okay various various okay uh that that varies based on how many different how many different versions were going todo you know you got it e I don't want this to feel like that one and I don't want it to be like any of the other son I'm just in my head thinking I don't want to go overhead again but we've got such a strong graphic um that I might not have a choice so I'm just thinking about that that's all I'm thinking about way talked about incorporating these with sauces some some of the um but when she plates it it may be so beautiful that we want to really make it simple so we cannot just yeah it just kind of want to see what karen how caramels this together oh I'm just talking to myself basically talking with leo I just don't want it I'm trying to set a good example here and I'm I'm I'm just thinking about stuff yeah that stuff is gonna be in born in this no real opportunity yeah it's hard so the noodles are going to really be this is an asian noodle soup and so the noodles will be super graphic karen's going to try to bundle them together and whisper mme rather than just throw him in the bowl and make it look like spaghetti uh because I wanted to be really strong graphically so and that may be so interesting and powerful that anything else may distract from it but it may not it may need a little bit something else so we'll just have to see um okay so why don't I do just shoot a test here and see what it is thanks john yeah I do and calliope can you move this down just maybe like three inches nice and subtle it's gonna be gorgeous all right I'm just doing a test this is this is in no way how we're shooting this but can you do stand in or do you have enough? You know if it's if you're five minutes from being ready out what I want ok I should say a shooting overhead, right? Yeah okay I mean but I just want to make sure sign when I'm playing this you're not going it's different if you do three quarters well were going we talked about it being super graphic right? So I definitely see that moreover head okay wait is that the shooter or no shoot no when we did that test remember the robin they're two bowls oh yeah yeah yeah I thought about doing two bulls but okay that's it here we could let's just keep overhead I want to just keep it simple but I wasn't sure if you're going to go that way that particular angle yeah but if you're seeing this overhead let's just keep it yeah over here you know that's another really good idea is just putting two servings a lot of people don't do that is they won't just one serving a single serving so you can you can change your pace a little bit do two servings that's always a nice kind of breath of fresh air you know yeah I'm thinking about going to the same bowl like to the same pole and uh yeah one would be cut off or no you two matching bulls yeah this one ok doubles eating over there mary you're gonna have to share my way got a question from the internet yeah a day see asked about how the rights work on the photograph when you're working so closely with a stylist how the rice works the rights yeah, the rights rights the rights to the photograph they're talking about the rice um I'm not sure I understand meaning who owns the rights who gets basically the rocky who gets credit because they're asking that is specifically said, claiming creative input and thus deserving a share of the rights. Well, you always give who the food stylist was, who the props dallas was absolutely and then the photographer. So that is, I don't think I haven't seen a byline that says created by, right? So, you know, I see this as definitely a collaboration. Well, you know, karen, I could shoot this three quarter, but I mean, if we're going to do this graphic than it has to be overhead, I thank you that's beautiful, the ingredients, you know, you want to shoot it? Uh, well, maybe one of the students want to when they're when they're ready to go it's gonna be all messed up after that, right? So I'm gonna go ahead. This is a same ball soul. Just use this one. Ok? Ready? Okay. I have a couple questions while I'm waiting for karen. Okay, a question from david in seattle. Another question. Hold, please, when you decide to choose among your final hero shots, huh? Is that something that you want to see in print or is that primarily you're just looking on your monitor or, you know, a digital file on deciding that or do you want to print those shots? So does that mean do I want to send those to the client I guess yeah, the shots that you want to send the client are you printing those first for yourself are you just looking at them on your monitor that's just for me while we're working okay uh but that's what I would send to the client okay does that make sense yeah, yeah, I won't I won't send prince well that's it depends on the client you know, I did a book for someone in london and I had to send them uh match prints so that they could know where my color wass more my exposure was even though I told him exactly the way I wanted him when I sent them the pictures I still needed to send the match prints so when it went to press they were able to match that so in a shoot like this I would send them these hero shots of the or mice elects its a client we're here and had a different select that obviously they'd get that picture but normally I don't send prince unless they want him and that that sometimes happens and when you're deciding for yourself you don't print them for my portfolio and I'm gonna show work yeah, I'd print those ugo okay, all right? I don't know if you want to talk anything about um color management or anything like that um not really you can't get no no no no I calibrate I uh sure I you know, I know my monitors are calibrated the basic basic tone stuff um I do minimal toning I exposed for what I want I started cheating on color transparency film so I try to shoot the exposure I want the picture to be um but I shooting raw so there's some flexibility but for the most part that's that's the print I want that's how it wanted to look so I don't do a lot of post at all very minimal and just to add on that question just so we can get this just square this away with the we're talking to larry yesterday and he said he expects all raw files and unedited raw files is that true for every magazine? No. Okay, I know that that's true for server that's two for larry he wants to see the photographer's process which is wonderful for the photographer because then that editor is going to say, what the hell are you doing? Are you okay? But other magazines were like just some of your twenty five heroes send the twenty five that you want us to publish or that you want us to consider and then you send it and you never hear anything and then you see it in the magazine you're like away because they like those um so it varies from magazine the magazine one of those always raw are they sometimes j there almost always processed tiffs or j pegs ok, good enough for larry or for silver it's raw? It just depends on the magazine. Okay, but a lot of times but I mean, it seems like the majority of them want them your select in a jape hi raised a pig. Yeah, which is good and bad. Cam has an interesting question. Have you ever been charged with having to make food look on appetising or disgusting? I've never had that. That would be a first. Okay, how we doing? So I haven't added the stuff that I'll do that on set I'm sure you're good with everything. You might bring the throttle a little bit from the shadows. Yeah, let's put a card in there let's get some apple box. We're gonna have a card, teo punch a little more light on the left. I want it to be kind of even julio, this is fine. This is this is good. Thanks. That's great can thinks that's really great. So, yeah, I think you're right, we should do condiments. Okay? I'll just I'll see how your friend in that and in what I need thio going pretty tight and I'm not I'm not taking any of that yellow paper, okay but I don't want it to feel like is that the muscles that way you loosen this way thanks for bringing a couple inches torching on tithe can you turn those sticks? All right, cool alright that's kind of where we're going care and I think we should play with bulls but ok if I move this card yeah, we push it out yeah yeah so I think we should off center this little yeah this's this feels heavy although there's nothing. Is there something? Yeah, that brown bull is too dark yeah, yeah, yeah, yeah, yeah. Specialities good, beautiful. Yeah, yeah, those curves and the noodles are really nice it's really good. Yeah. That's awesome. Yep. This is going to die pretty not super quickly, but it just goes it's a little warm. Okay? I mean, we're good for a little bit, so just be aware of the light on this camera window. Just just don't just don't block the light when I go when I'm ready to shoot, so I'm going to crop that so I get some tension in the frame with suit so it's not gonna be like dead center alex gorgeous. I'm gonna do it water can I get someone to hug me just back here right there that's beautiful, okay, I'm gonna do a test so I think I'm going to put in a good sure yes we'll take a look at it let's just look at it cause we still have the uh smooth go no this is this is gorgeous it's really pretty oh, no I don't need his chili oil yep you wanna put that down it's okay gotta go sky was most maybe um loaded the chili flakes I'll take some of those smooth that's beautiful damn I think the tulio that'll pop it really nicely the sleep was sticking out weird stuff I think I got one here somewhere that's gorgeous all right, so we get way how's this here you want to pull something out yeah that the bottom one needs a slim yeah yeah there you go. You wanted is that enough stuff around there? I think so. Okay. Yeah that's great it's like a weird piece of something on that red red chili care chili fight just looks funky there. Yeah, you replaced? Yeah. That's gorgeous. What do you think? How do you like it that that there's kind of that white? I don't mind that empty white space on the left itjust feels gives it some edge because the soup is so complicated you just have that I think it's beautiful the two pieces of green parsley basil on the left are a little too perfect for me he's on the on the tape, no on the plate, so they're kind of facing the same angle. Yeah, they're an out slightly, yeah, that's it and, uh, yeah, there you go, break it. Good. You know what? Look at that. Real quick. I think it's a little off like that before attention grabbing and thinking you sing out in the first one was okay, come out just a little bit with karen, just a touch. There you go. What did you say, john boy's, latest ones on screen? Okay, okay, that's pretty. I think we got our hero that's. Actually. Interesting is, are you all right? Wade got our hero. Yeah, pretty. Would you put that in your portfolio? Okay, done. Good job. Thank you, guys. Thank you.

Class Description

Join award-winning photographer Penny De Los Santos for this 15-hour course. When you think about food photography, it's not just about what's on the plate. It's about everything around it. The details, the scenes, the people, the culture, the history, the geography, and especially the moments. Food connects all of us. Food photography is the crossroad, where culture, food, and people come together.


Supplement this course and master your post-processing skills with classes from the Lightroom and Photoshop tutorials series.