we're gonna go ahead and shoot the hero we've There's this window space right here. That is wonderful. Light is absolutely beautiful here. So what we need to do is we need toe black out the screen because it's so bright in here. So what we use is we use the block part over five and one because Todd and I like to shoot guerrilla style, which is really low maintenance and not a lot of gear, because sometimes we're running back and forth in between locations, so we try to lighten our load as much as possible. So I'm using this as a block out to get color screen, saying that's about what do you think? I like it, But I think that the ice is one of the problems. That s so I'd like to get some fresh ice on your right. Sounds good. And then let me kind of rearrange composition. Let's have her come over, come over to hear that way. Todd has his placement down in terms of composition, and I'm gonna change a couple things up. I feel like we could make it feel a little more natural, like somebody ...
is ready to be eating this dish rather than having it feels so staged. Bench. No, I think it's great. Yeah, OK, go ahead. Monica. Yes, this is the cucumber rice. So that stuff a huge part of Yeah, there's so much texture. So this happens often. You know, Chef will be able to see their dish on camera because how they see it plated often doesn't convey and transcend into the computer. So after Chef takes a look at it, they'll probably want to make changes. And that's definitely okay. I mean, there's so much to work with and so much flexibility in terms of trying to get it really as great as possible. So I know we had This is camera friendly. I think we actually should rotate just a little bit. See how with the lights catching air off? Yeah, it gets a little bit of better structure to our old just taught shooting. We're not gonna be bouncing right away or adding light because we feel like you just need a photograph it first to see where you are in a starting point. And that's what we talk a lot about is shooting it to get a starting point. So many people so quickly try to fill on balance before they really understand what they're going to be getting. And for restaurant scenes like this, particularly with the lighting that's already within this restaurant, it's so moody and so into. It's really great light in here. We want to make sure we capture that. Have that reflected in the food, so it doesn't feel like it's this bright, airy place, because it's really not. You know, you guys have a lot of personality in this restaurant. We might attack the forks and knives closer. What do you think? I like how you can see the wood in there because the wood is one of the other features of the actual space itself. Do you have any proper line or anything that's open any type of liquid? But we can, like, make you feel like it's more lived in. Thank you. You shoot this one example, I pulled out the cars. Okay, so let me get a hold on. Here we go. Hold on, hold on. Let me see. I'm gonna get action shot, but can you just place the bottle right above the glass? Don't four yet just so I could get placement. Can you just get a little closer if you can? And just, like, feel like it's really natural. There we go. OK, Chef, go for it. For fastest. For natural. Okay, stop where you are. I'm gonna get one. Detail were quick. Can you do it one more time? Quit. Right. Thank you. I think I like the previous angle, but something that I think we have a pretty good He's like zoned in which the 50 chef, he's totally zoned in. You seeing all the little details really make a dish? Because what we did with that one Yeah, that looks great. We'll do one last one and then we'll go to the next one. But this feels great, too. If you do, you have the 50. Can you make sure you grab a little bit of the wine in the brain to That's giving us This will be great if you guys did some type of type. You put your logo going across it on on the black part. Okay. Can you put your the craft close to the wind loss? Just like grab a focus on to go closer. Closer. Ok, Ok. Poor normal for fast. That's great. Thank you. Oh, okay. Going to do a detail. So start with top down, top down. I bet you added catching the corner. Right. Um, stay where you are. Can we do want warm my hands or in it? Click. Let's do this. Because if we do this a lot, go over my shoulder. Ready? All right. Okay. We go tell you. Okay. Crispy skin. It's OK, Christie. Skin. I'll make it crispy.
Food styling photography isn’t just about taking a delicious image; it’s a way to tell a story about tastes, seasons, and aesthetics. Learn how to artfully capture that story in-camera and share your work with potential clients and collaborators.
In this course, you will learn how to craft a food story through images that are unique, intimate, and meaningful. Noted food photographers Todd Porter and Diane Cu will show you how to utilize natural light whether you are shooting at the table or in a restaurant. You’ll learn simple techniques for food styling that will keep your food fresh and believable on set. Todd and Diane will also share strategies for creating a thriving food photography business through their successful blend of online marketing and community building.
Whether you want to explore a new career in food photography or are seeking to improve your existing food styling skills, this course will arm you with the technical skills and industry knowledge you need to succeed.