#WFHCafé with Andrew Scrivani Episode 11: Cocktail Making
Hi and welcome back to the work from Home Cafe. I am Kate Desa and we are back with Andrew Skirt. Bonnie, uh, eat every week. We are coming to you at 12 o'clock PST three pm PST to tissue a new recipe And Andrew Steve Genius. How Teoh take beautiful photos of it. Today we are learning how to make some cocktails which we haven't done yet and he's gonna take She just had it takes, um beautiful shot. So welcome back and very excited. Today's episode Riel could use a nice drink after a long Monday. Yes, and it's so hot. It's just so hot here that turning on the oven or even getting at stove today with seemingly ill advised. So during the pandemic on Fridays on an Instagram live, I had consistently been doing something called Drinks and DJs. So my my nieces boyfriend was staying with us during the pandemic, and he is a deejay. So he brought all this equipment here. So on Friday nights, we do a live feed where he would play music and I would mix drinks, and then we would just hold an open so...
rt of conversation, and we had a really good time. It was fun. Once Nico went home, I stopped doing it, but I figured it'd be good to revive. I've been a little bit, especially with some summer drinks today, So we have some fruity Urbi sweet summer drink sites to refresh us. So I'm gonna do 31 You're probably already familiar with its mojito. I'm also going to do something called the Watermelon Crush and another one called the Bourbon Peach Smash. So the bourbon peach smashed clearly has bourbon in it. The mojito has rahman it, and the watermelon crush has to kill. So we're using three different types of liquor today. We have fruits. We have limes, peaches, fresh mint, blueberries and I need these two things, which are a brown simple syrup and a white sugar simple syrup. So I wanted to talk about that first because any good bar set up, you're going to find that a lot of drinks like this use simple syrup and all simple syrup is is a 1 to 1 ratio of water sugar, so basically you take a cup of sugar. Let's say a cup of water. Put it on the stove. Simmer, not to boil. Basically, just get it, warms everything, and then you will. And then you will have a syrupy, so sugary substance that could use in cocktails. You could use it in your coffee or your tea. It's really nice for for cold drinks, because when you put granulated sugar and things, sometimes it doesn't always melt completely. So using a simple syrup is a really good solution for those types of drinks. So if you like ice t or you making cocktails like ice coffee having some simple syrup around and it doesn't go bad, put it in the fridge and you can have it forever. All right, All right. So let's get started on cocktail one and let me get you down on my table top, and you can see we're on it. We're on different situation here. All Look, you can see me a little bit. Okay, Good. So that's straight. We'll try. I will try to square it off. There it is. We're square. Okay, so we're gonna do the bourbon peach smash first. So the first thing we're gonna do is get a cocktail. Come shaker, and I'm gonna get his peach cut up. We're gonna go about this speech is a little bit right. So this is actually not too bad. It's a lot. Right? So we're not use out this one, which is much nicer. And in New Jersey, we have a lot of really good peaches here. This is one of the products that get some that gets produced locally. Corn and peaches is what New Jersey is known for. So I didn't know New Jersey was normal for corn. Yep. Great corn, Really sweet coming into season and where it's really it's really nice. So 1/2 a cup off half a cup of peaches is about using here. I'm using about, like, kind of 2/3 to this speech after I've taken the pit out. Well, that away for later. So we're gonna take the peaches, which I've diced. We're going to do one ounce. So I have my little cocktail jigger here. It's one ounce in two ounce. I'm gonna do one ounce of simple syrup, Okay? And I'm going to add for someone. I gotta put the mint in here too, so I gotta get cement. I got about five or six leaves of mint, and then I'm going to use what's called a modeler. But this is a tool that has, like, a rich kind of masher on the end. And we use this the kind of mash up everything that's in there. So we're doing what's called modeling at this point. So this when you hear the term model but you're making cocktails, you don't know what already That's what we're doing, sort of making a mash muddling along. And let me ask you, you know, I've noticed a lot of, uh, cocktail being made with God and said, That's a bolster up. Is that something we could switch out here? And do you know what the difference between a GABA and a simple service syrup is of this Casady for one a god, honey eso When that hits cold, it's gonna seize up and you know it would. Honey and ice tea or something like that. The honey seizes up when hits ice ice coffee. Well, I something, you know. And that is why simple syrup, a little better toe looser viscosity. And it doesn't seize up when you put it in so that I Okay, so I'm gonna add or bourbon I'm using Ah, rabbit hole bourbon, which is a really nice bourbon, obviously from Kentucky. Because along comes from Kentucky, just like all champagne from champagne. And I would be used to ounces bourbon, which is this big double jigger, right? And then I'm going to shake it up with some ice. Have you ever taken a trip to the Bergevin Trail in Kentucky? Have? Really great. You know, when you're facing something for for three, you want to take your coat. It stocks a form of frost. You could see that fraud stare around the thinker. So that's good. I'm gonna get this fill it up with ice when a poor movies to get right back over. My supposed to strain this? No. Well, you that's what I'm supposed to do. Uh huh. Okay, so I got a tiny bit left over, but you see, act is really nice, Frothy kind of drink. It's got little pieces of peach in it. You're supposed to pull it up a little closer to the camera for us. Here we go. OK, so you see those nice chunks of peaches in there? Yeah, it's really nice. And I got kind of garnish this with a nice kind of piece of peach here. And then I have some fresh mint that's from the garden. I just brought the whole plant into the into here just to kind of freshen this up and actually the ones that are soaking in water, which is another one of our styling tricks Weeks are soaking our garnish in cold water, which is something that we always do. And now we have a really pretty cocktail and remind me soaking and the garnish and look, hold water helps brighten up the garnish itself. And also the flavor of it as well, right? Yeah. Brightens the flavor, It brightens the color, and it keeps it fresh and hydrated. So, like these, I'm gonna take one off the here. You could see these were outside in the heat, so they're a little bit sort of wealthy right now. So I'm gonna put it in the cold water and see what happens will pull it out of there for the next drink because I think I think all three of these drinks get all three of the key strengths. Get up a minute. So we're gonna try to keep this. I'm gonna put this in the freezer, Usually not what we do. But I'm gonna put it in the freezer because they don't want Teoh way time have you brace and please freezer. But yeah, I was gonna say this is one of those items. Much like pretty much anything frozen. That is quite a, uh, think tackle in food photography. So is this something that you do typically when you're or do you have? You know, when you're doing a cocktail shot, do you typically have three people making cocktails for you and said, you know, So it's all time to the right way? Or are you using your fruit like we are today? You know, a lot of times with him Green cocktail shoot. I'll help in the kitchen with stylist and we'll try to mix them up really quick on. Just keep making them. And a lot of times I can you can fake it to by using plastic ice cubes, which I have you have hot. Today we're going full, you know, normal every day, ice cubes. But, you know, fake plastic ice cubes go along on way when you're our way hot studio or you have a lot going on. So I just tasted this one. And this is one of the hazards of doing a cocktail suit Is that you end up and I think the product, Of course, that's part of the fun of being a food photographer, right? That is delicious. It really is great. Okay, let's move on to cocktail number two. Which eyes going to be our mojito? Eso I'm going to We're gonna put him in the shaker with ice. I have another shaker, and we're gonna get ice in their first Wait. Hold on. What ingredients? Check. Yes, I'm gonna do it this way. So there number of different ways to make a mojito. But a lot of times they'll model the way we did with the first drink model, all of the mint leaf in the bottom of the cup. But in this case, what we're gonna do is we're gonna take everything and put it in, and then aggressively shake it up and import roll, right? So again, we're gonna use, like, four or five, maybe six leaves off meant we're going to put two ounces of Rama. I put healthy, generous pours in my cocktails. Then we're going to put a tablespoon of sugar. Now, you could also use simple syrup. But since we're gonna aggressively shake this, I put sugar in there on. Now we're ready to shake. So I have this kind of night shaker with a strainer on top. We're not gonna need that. We're gonna pour everything into the glass. And when you say that you're using just regular sugar just regular granulated sugar straight into the cup super fine silver is preferable. But it's not always available. Like I went to a wedding today. Did not get any Superfly. I can't think so. General Camper problem. Facebook gets talking a little bit about it's stuck to the shaker. Oh, no, e I just mentioned. Does Jennifer from Facebook is saying that her uncle used to be an artist who created food shots, uh, with non food a lot, which she piped in when we were talking about fake ice cubes in your food photography. Do you ever, uh, use things that are not crude to make it look beautiful aside? Uh, you're she said that he used glue instead of milk. You know, I've never done that, but I know that it has been done so, Yeah, Let me come down to the table so you could see what I've done. So here's our mojito, but it's not quite finished yet. We're gonna top it with some club soda, and you could see how that mental broke up in the shaking process. So it's got all that kind of broken pieces of mint, and then this is our men that I kind of soaked a little bit in. But that's the mint. I soaked it. So it's kind of refreshing, but that that's a nice collar for a mojito. It's really looking good. So in the freezer, you go. Okay. So let me ask you this Are you in particular about your ice cubes when you're making cocktails? Because there has been quite an evolution of ice cubes. Or maybe I've just gotten deeper into making cocktails myself. Um, but, you know, they have fear Square. It looks like those air. Pretty nice ice cubes. Are those from your freezer or those a mold that you're using visit from my freezer. That one must be good then. Yeah, man. Day drinking here. Drink in order to gather for It's all good. Okay. The last one is called on. Get back on the table here. Last one is called Watermelon Smash Crush Watermill Crush. So I'm gonna first get this mesh strainer, get you closer. A little crowded. Okay, so I got the mesh strainer here, and I want to put in these chunks of watermelon on. I'm gonna sort of mash him down. I'll use the Mugler because that'll help. And I could just mashed all this down and get watermelon juice, right? So, ultimately, I want about three ounces of this. So I probably got more watermelon in here, so maybe I'll make it double this time. But let's stick to the single so that we don't confuse anyone so that the recipes are consistent. But this is gonna be ultimately, I only need about three ounces of this. So you could see I got that really nice. Really? Yeah. I can always come back to this and use more, but I think I have plenty. Now put that side. Go back to that one. So this is Remember? Now this is two ounces thistles, two ounces. So I'm gonna do to and want to get myself three. All right. Does that. We're gonna do it in here. We haven't. Tall cocktail shaker. Eso We're gonna go for this over ice. Okay, so I'm gonna fill the cup with ice start, and here we gonna do one ounce of lime juice. So have toe weasel. I'm have this nifty squeezer and half 1/2 a lime is usually about All right enough. We got about ounce of wine juice in there until May tell me a little bit more about when you put ice in the shaker itself or when you're gonna put ice in the drink afterwards. So this one, it looks like we're gonna put ice in the shaker with the juice of the other ones. We poured it over. So in what instance do you choose? Which, you know, sometimes you're going to strain what's in this here, But you still want it to be cold. Now, some some Some cocktails are served in different glasses like so when you see something that served in like a coupe, which is like that flat cup with a stem, a lot of times taken drinks that are, there's ice in a shaker, and then you strained it out. So there's nothing but just a chilled liquid and then another time you shake it out and poured over ice is just a matter of which cocktail making. But then, like the ones we're doing, especially when there's modeled fruit we're doing both right were shaking it up with ice and then a lot of times adding ice also, when we pour it into the glass to get the raft, So it really depends on the cocktail. But ultimately it's you know, it's just however the recipes written for the most part, yeah, back to the table. Okay, so I put three ounces of watermelon juice in here. I'm gonna do one ounces of simple syrup. I'm gonna use our brown simple syrup this time. This because I like that rich color we already have. I don't want, um we're gonna go to ounces of tequila. And is that typically, you know, when you're choosing between brown or white simple syrup. Um, is that are you usually basing it color have I don't act on my cock. Its taste is Well, I think this one is a little bit. The brown one is a little bit more sort of carnally, you know, because the round Sugar is definitely has a little bit more of a caramel flavour. So if you want richness to it and not just the sweetness, but more of a Carmel richness to it, that would be the brown, simple sphere. So, depending on, I think they are relatively interchangeable. The color helps. If you're going for a darker drink, the darker would help going for a lighter drink lighter would help. Okay, where I am, right, I am up. I'm here. So I have this nice cocktail spoon, and I'm gonna mix everything here that I just put in your side again. I put in announce of lime juice, three ounces off watermelon juice, two ounces of tequila, and announce of simple syrup. What I'm gonna do is I'm gonna throw my blueberries right in here. I don't want them to go right into the cup. All right, so you're not gonna mash up the blueberries at all. Not gonna mash them up. I'm gonna pour this over ice. And again this gets a It could get a mint garnish, or I can get a, um, we can get a mint garnish, or it can get a lime garnish or it could get both. So I have that. And I'm gonna do what's called the sun kissed that is called the sun Kissed wedge. As you can tell, Like like the logo of sun kissed oranges. So the way I'm sure you haven't cut that in a second. Just get it up here. So there is our star drink looking really bread and pretty. I think that one will hold for a minute. So let me show you how to do a sun kissed cut. So this was something that the food stylist taught me. So you cut the Citrus in half so that you have the nice ground thing, Then you turn it over and you kind of go on a 45 and you cut through it. And that's how you end up with the really pretty Sunkist wedge. So it ain't wedges out off the line this way, and then they have the the little bump on the end. And that really doesn't make for a pretty A pretty well, that's a very good point. I never thought about that, but this is that perfect kind off pretty wedge that we really like. So all right, and there. We have our watermelons, Nash crush amending the to with getting okay. Now, of course, my glassware is limited here. I don't have the best glassware and are are blueberries of supportive sunk to the bottom. So maybe one we're shooting. I can kind of cheat it and get them to come up to the top of a little bit. Add a little more ice. We'll play without a little bit. Okay? So the over for cocktails. And do you think that we have any questions about the cocktails we mixed? No. Everyone's excited to start making them today. Everyone's excited that we're starting Monday off with some cocktails. That seems like, you know, everyone stuck at home, and most bars are closed right now. So we gotta learn how to make some craft cocktails at home. I think so. And I think that since a lot of people are on vacation until I in August, day drinking is completely appropriate. Yes, exactly. So we're gonna do is on. I want to use some sort of environmental things with our cocktail photography today. So what I want to do is possibly go outside. We're gonna attempt this and see how it looks. OK, so they already do it while I get you going. And then I will go outside and we'll start shooting. So let me get set up and all will be right there. All right? So I'll remind everyone today. This is the work from Home Cafe. You are watching creative live TV Lining is Kate. I am the co host with Andrew Screw Bonnie. He is a New York Times food photographer, a offer and one of our amazing instructors. He has a plethora of, uh, food photography classes on our website creativelive dot com. And today he is teaching us how to make some delicious cocktails. So we've learned how to make some mosquito watermelon crush and a peach smash on. Right now, he's setting up up outside so we can learn how to take some outdoor photography. Usually we are just using the actual light from his beautiful windows, uh, for our photography. But today he's taken us out to the patio so we can get outdoors and you can teach you a little bit about shooting food and drinks while we're your outside. So Andrews, right now still mid quarantine it in his home in New Jersey usually is based in New York City but has escaped to the Jersey shore. Where, uh, you will probably be enjoying these cocktails right after we're done with this episode. So, um, again, this is the worst home cafe. And yes, he agrees you will be drinking those cocktails as soon as we're done with this shoot. Um, and again, like I said, this is the work for Home cafe. You're watching creative live TV. It is our daily variety show where we've renewed into the homes of our favorite creators so that you can see how there's they are creating during corner how they are staying motivated and inspired every a while we figure out what each day brings. And so today to get us started with some cocktails and he's excited to show us you oh, done setting up his outdoor set up. Looks like it's gonna be a beautiful set up. Okay. All right. Here we go. Well, what to look at, but I guess I should I should look at this camera to talk. Right. So, um, so here we are outside. I have sort of like a little garden out here and I'm going to set up on this table. This is sort of like a little terra cotta table. Toronto table. I'm sorry. I was gonna say it looks like a Toronto table. Very trendy. I think what I have to do first before we do anything is figure out what my eye eso is because I think out here, it's gonna be Yeah, it's gonna be a It's going to be at 100 and I'm probably gonna need to go with a little bit of a faster shutter and let's see where we're at. Yeah, I think I need to be at around 200 at 4. aperture at about 100 I itself. So that's about where we're gonna be right now. And you toast, like, right now Where is the sun? You know what? What? What Point in the skies? The sun To give us a little perspective for you. So I am North east facing right. So if you wanna kinda see I'm this is what I'm looking at, right? Thought that's north and east, obviously, is the ocean. So, like, I'm pointing directly at New York City, like, right here. So, uh, that that DUI. So the sun comes up over here in the morning right around there and then and it kind of goes up a bit away. So I have sort of this north facing light that we can ah, that we can use for nice diffused lighting situations of adoring, um, summer liking be out here shooting, and I have some nice opportunities here. So I'm going to try to fudge this a little and throw a couple of these blueberries in on top and get sort of a triple shot. But I do think that my peach one is the prettiest of the three. It's held up nicely in the freezer, and I'm gonna try that kind of married these three together, take some of this kind of stuff out of the mixed, and then take a look at what I have and it's a little flat, so I might have to add a little bit of bounce, which I'm going to start with. So I'm gonna get one of my bounce cards that we've used in the past couple of weeks. When you say flat, what would you mean by that? Did it again, I said, Can you explain to us what you mean by flat like there is not a lot of depth to the photo. What is flat was like When you're looking at something, it means that there's no directionality to the light, So okay, is sort of a flatter, even light, which in a lot of cases, is fine. But like, if you want some drama, it's kind of harder to achieve. And you have no when you have no directionality to light so, you know, were taken away to create directionality. So, like, right now, looking at this, my better situation might be to add some black rather than can you still see that from this angle? Yes. Right. So I'm gonna ask black in here and create a little bit of shadowing. And that might help us kind off yet a little bit. Most directionality with our lighting. Eso might overexpose it just suddenly. Yeah, it's It's, um that's working it one. Get lower. Yeah. Okay. So I under exposed anyway, normally, because I like Teoh be ableto pull shit up in post. But I do think that we pretty there was lots of color. Yeah, uh, when you shoot things like this and in sort of in a, uh, in a row, you know, and you have that nice depth of field. You have some real directionality and dimensionality, especially with that flower pot in the background. Oh, yeah. Then if I want to use this sort of same set up, but kind of get away from that, um, flowerpot and they move over a little bit and I'm just kind of throwing things around here and fruits and whatever for, And I'm creating a little bit of, ah, to come off the edge and really show you that I'm in an outdoor setting. So I missed a little bit. The I caught the edge of the pot. Oh, yeah? What? I'm gonna pull it back and get it out of the way and see if I can get a clean shot where you see my drinks. You could see that I am out the wars. And are you using your macro lens right now? Andrew, I am. I want to be able to get close, and you could see me now that I kind of created a little bit of that like light lead that comes in in the back. Yeah, So it gives me a little bit more of a feel of being outdoors. And I do think that getting lower and closer in here might even give me some more drama. And when you're focusing on glassware, you want to focus on the leading edge or what's in the top of the glass. Because if the shooting in a shallow that the field and you don't do that, then you're not gonna have any focus at all. It's just gonna You're gonna lose focus So you can see here. I did that purposefully. You could see that my blacks wear is kind of out of focus. So I wanna focus sort of in the middle here so that I can actually have some of the drink and focus. And that is me a lot nicer. Be hard camera right now, but I also from the top it it's very Oh, yeah, that's nice. Yeah, So we kind of cheated a little bit with the take away that go straight over the top. Now, when you're focusing from the top and I think we talked about this a little bit last week, you do want to remember, um to book. It's up in the high point. Give me one second to get another piece of fruit. Okay, so I'll take this time to remind everyone you're watching creative life TV. We are here with Andrew Scriven, he at his home in New Jersey, learning how to make cocktails and how to take beautiful photos of them. Oh, you're adding a full piece of fruit to the shot, huh? Putting it in for color. I don't know that, but I am putting it in for color and also gonna cheat a little bit more about taking this plant out. And I got more. It's really pretty. Piece of drift wood. I got some air plants kind of living on there, and I got our drinks. So last week, we talked a lot about the story that you tell through food. So what? You know, as your kind of propping, this is their story you're trying to convey right now. Yeah. I mean, clearly, I'm trying to be summary. I'm trying to be tropical. I'm trying to be, um, Beachy, you know, like there's a lot. There's a lot to be said for his little little bits and pieces and driftwood in the back may not read that way right away, but it just kind of bullet, a little bit of texture to it. It's not exactly doing what I wanted to do, but it's I'm working. That's a little better. It definitely gives you a sense of being outdoors. Yeah, totally does. Now, I could do something else here, Barris, because really going on behind. And I want to talk about one other thing with glassware in second. Yeah. Let me see if I can make this. Yeah, I think it's definitely giving me a little bit more environment. That's certainly see the ocean. But that sense of what's happening behind me here. So? So you're adding some height that you weren't getting before, right? Yeah, for sure. Excuse me. The green in the background. A little bit of light, please. Even the railing, even the railing is part of the story. Yeah, so you see, it's sort of Oh, yeah, that looks that looks exactly like what you're doing. You're enjoying a cocktail out on your beach front patio? Yes, but this kind of beach would see now I have a little bit more. My varnishes kind of fading a little bit, but, uh, come on overhead perspective here, even if I just eliminate one of these. Thanks. Kind of go, Steve, Look, you're seeing on my screen. Oh, there it is. Very good. So, again, it's like, let me try this other guy. Got those little very slow around. Maybe just throw the line in there, Okay? I'm gonna tell you a couple of secrets about beverage harder and why this is only the 101 version of beverage photography. Yeah, because two things are happening here. One, my ice cubes air so white because they're not, like, made with distilled water where they're nice and clear. Another reason. End up using, um, fake ice cubes at at certain points. Ah, because the white ice cubes air dominating the look of the drink. Yeah, the first I like the edges of the glass by incorporating something. I'll from eating the blood. Well, I think we're losing, you know, just a little bit. So in his head, we're using flashes. Think we're all frozen. We all frozen? Yeah, I think we're cutting out a little bit. Okay, So when you're in the studio starting using the black cards, especially when you're blasting it with light, like a stroke or using an led. You need to define the edges of the glass because sometimes you lose the edges of the glass in the light, and using black cards is a way to kind of have the glass have something to look at is the terminology I've heard talked about before, where the edges of the glassware wants something to see so like, because they're reflective. You want to put something in that, um, reflection that is going to create, um, some definition. So using black cards in beverage photography is really important. So two things clear ice. If you can make it, buy it or use fake ice. That absolutely helps some of the things we've already talked about in terms off refreshing and keeping your garnish fresh and green and vibrant. That helps now, clearly, and photography. It's some forgiving because and fixed little imperfections in photo shop. But if you ever working in video, this becomes even more problematic because you cannot correct those little mistakes. So your, um, your garnish, which you could see there is still soaking in cold water. Um, the garnish needs to be, Ah, the garnish needs to be as fresh and vibrant as long as possible. So where we're learning a few little things here that as we go along in the process. But honestly, the one the one that is the most problematic in this particular set up is that those ice cubes are just so white and they're just really dominating what we're doing. I mean, and the fact that it's hot out here is also sometimes a problem because one of the other reasons that we use, um, one of the reasons we use fake ice cubes. A lot of times it's to prevent the sweat in the glass. So if we're doing like, um, like a glass of bourbon, let's say on the rocks. And that's a really nice look. But if you've ever had a glass of bourbon on the rocks, you know that after about five minutes, the glass starts to sweat. And that's not what the romantic view of bourbon on the rocks in a oak paneled bar somewhere, you know, wherever is that they're selling. You write that. That has to be, um, three of sweat. That's sweat free. So we're ah, where we're out here in the sweaty, not 95 degree humidity today. But, um, is there any questions about this Because, I mean, I ah, I do not specialize in beverage photography, but I've done quite a lot of it, and it would be interesting to know if anybody had any specific questions about beverage photography. Yeah, one of the questions that coming in, There's just how outside of ice is there any other, um, you know, hacks or tricks that you used behind the scenes to make it a little easier on yourself. I think you know people in general when you're shooting frozen things, that's a really hard thing to shoot as a photographer. So, um, are there any other hacks, like fake big ice or things that you kind of lean on to help tell the whole story? Well, I think when you're one of the biggest challenges with, um, beverage photography in general bottles, um, are the obviously the shape of bottles because you can't always shoot in a in a vertical plane. Sometimes your client needs in a horizontal plane, and I know that some people have a tendency to want to lay the bottle down on the table. I don't necessarily love that look natural, and I What I try to do is build a set that has a backdrop or shoot something against white like a silhouette and then a lot of bed. Virtual ta graffiti is, um, composited. So I should daunted by looking at beverage photography and going well, how am I going to get that shot right? Because most of it is done against white, so that could be dropped into whatever background they want to do. So it becomes more of a composited image. All of your absolute adds, a lot of your Bacardi adds. A lot of this stuff is done that way. It's very rarely done in situ because it's a really hard thing to do as we're discovering here. Very, it is a very challenging thing to do, but it's a good exercise to try to do it in situ, because it you realize the things that it's definitely doable. Most of beverage photography have done in my portfolio is institute, but I have done quite a bit of it for clients and I worked for a PR company for a while where I was doing beverage photography, and there are a lot of bottle shots. And one of the hardest things to do with bottle shots has managed to reflections. So that black card trick goes not just black cards, white cards using things to manage, um, reflection and keeping the room simple and keeping your camera at, you know, sometimes like I talked about last week where you would cut a hole in the in the in the fill card and stick the camera lens hole. That's part of that trick, too, because a lot of times when you're doing beverage photography, managing the reflection of the camera itself is it could be problematic. So here, right now, this is not classic beverage photography, some out here in the situation out on the deck. But it is, um, you know, when you are in a situation where you have to manage reflections, you want to be in a less busy environment. So, like in my studio and I do beverage photography, I draw these black curtains all around the room so that there's nothing else for the glassware or the bottles look at, um and and reflect. When I'm trying to make the picture, and then I can manage the flares and build. You know, if I want to build highlights with other lights, you know to. You know, a lot of times you want to see on glassware or bottles is a really nice line down the side of the glass or the bottle in either black. And that's usually accomplished with either a black surface or black card. For it to read like we talked about, or some kind of a strip light or some streak of light that's coming in, that's catching that edge of the bottle. So you want all of your reflections to be really intentional when you're working with beverage photography. So, um, typically, when you're if you are shooting up beverages are you usually are working in a studio. You're not usually working with natural light. We'd like we are in the situation, huh? There are times when I am. I've done some jobs where it had to got gone out to a bar or gone out to a restaurant that had a cocktail program that wanted to do it in daylight. And I've done some that way, and it's fine, but it's again. It's really about managing the light, managing the the reflections. And a lot of times when you're in that situation, you don't want to do a macro lens because you're gonna be too close and you're going to start to reflect yourself or the lens in the glassware. Um, but like sometimes when you in a really busy environment, like a bar with, like all kinds of bottles behind it and everything else, it's OK, because the reality is it's a busy environment and you're taking that picture in situation. You're not looking for it to be, Ah, stand alone still life image. So you have to understand and appreciate that if you're going to do something with the intent to say OK, I want to show this environment well. In that environment, there might be reflections in your glassware, and that's okay. But when you're doing it intentionally for an advertisement where that that image needs to be used in different ways, then obviously you need to take care to manager reflections. Give definition to the glass, make sure that your exposure is never to never over, because once you go over and beverage photography like you have a blown out background and you lose the edge of the glass. It's gone. There's knowing for May there and you're not going to get it back. And Kate, if you want to shoot it that way for effect, that's fine. But there needs to be intent. Everything you do has to have the proper intention. There are no happy accidents in photography. If you you are looking to do one thing and you do the opposite thing you did. You didn't do your job. So you definitely want Teoh. Make sure that you know that your client has expectations that you're managing or you as as your own clients shooting for your portfolio. You are managing your own expectations and you know exactly what you want out of the picture. Um, and and the thing is, look, we're doing this live on TV and I made one drink and one of them was made about 30 minutes ago. Yes, how we do it in real life. What we do ask, we make a very intentional, purposeful attempt at each drink. And if we do need to do a group shot, where doing that big old hustle up mode? Yeah, we're getting ready and you're getting that out on the set really fast. Um, So, like, when we talk about doing things the way we're doing them today, yeah, if we're out, this isn't If we're doing this for ourselves, that's one thing. But if we're doing it for a client, we would be handling this in a very different way. And I certainly wouldn't be mixing the drinks myself and then trying to style living photograph, at least not three of them simultaneous. Yeah, but again, we're ah, we're gonna make when When I'm done here, I'll probably make one of these again and then try to get some more representative pictures of it when I have a little bit of time. And I'm not doing both instruction beverage making, photography wedding at the same time because oh, yeah, simultaneously are, as you could see, e a lot of work always very obvious when the bold Manus sweating. So before we come to a close, I wanted to talk a little bit about there's, I recall from your new book, which is titled That Photo Makes Me Hungry. And every time I m doing the show with you, I'm getting hungry every time I look at that book, I'm like, What am I gonna eat today? Uh, in that you talk. Um, there's a photo of some cocktails, and you talk about the importance of backlighting in a cocktail photography and how that kind of creates a mood. Eso I want to talk a little bit more about mood of cocktail photography, and often that comes with kind of the the dark, shadowy, uh, aspects of lighting which make kind of tell you this story of being in a bar, we kind of took a different approach by going outside and creating this beachy environment. So speak to me a little bit more about how mood is conveyed in cocktail or crude photography. Yeah, um, years ago I had to do, um, a beverage shoot. It was for the Melissa Clark column. And every year, she would go to this Ah, lake house with a friend who is a famous cocktail writer named Dave. One drink, right. Though we had this conversation before we did the shoot because I was gonna have to recreate the look in my studio. So she told me, Here's what we do. We sit out on the deck. It's very green, it's very Woody and it's on the lake. So this is dark and we sit out on the dock and we have drinks. Was that okay? That's great, cause that's great information. So on the studio set up table, I set it up backlit because I wanted it to feel like light was streaking into the environment like we're sitting there watching a sunset or something to that effect, right? So we're setting this setting the tone for the time of day effectually and sort of almost any time of year. Then I got some plants like I did today, and I kind of got them in the background. And I was. So there was this sort of the essence of green in in in the, um, composition, right? And then the part of it that I took from the instruction that she gave me was that this doc played a big role in the narrative, right that they sat on the dock and they watched the sunset in the woods and the lake, and they had their drinks. So I got a slatted kind of picnic table that looked like slatted wood like you would see on a dockside, and I use that as my table surface. So it was very subtle, but the combination off this beautiful, yellowy like lemony drink right that we put in, um, we put in, Ah, one of those pictures that has a spigot on it. Yeah, I remember Right now that and then the green in the background, the reddish doc as the table top and then the, um and then the sunlight kind of streaking across the table. We created that doc scene on a table top on a two by three tabletop. So, like all of that intention of the little elements that we're going to create a mood now unless you knew that she was sitting on a dock in the woods at a lake. You know, that whole set up may not be as literal as the way we what we intended it to be, but it still gave the feeling and the narrative of a summer afternoon, you know, in like a woody area, so sort of Italy that seal. And we did that all on a two by three tabletop. But again, it's really about your lighting, your propping your angles and you know the intention that you bring to the narrative storytelling aspect of it. So if you want to build ah, beach scene now, I could have, you know, put you guys up higher above my railing and gotten below the the rise and shot a picture. So you can you see the glass and the, uh the glass and the beach background. So, like, even like now, I can kind of walk you over here back outside. I'm gonna put my glass right on my railing. I'm gonna flip this camera around and gonna composed a shot right here on the camera. So how do we flip this? Oh, I did it already. Okay, So, like, from if I'm here, I might I have to get again. My glass is kind of melty and whatever, but if I kind of went like that, this is here. Ah, here we go. OK, so if I framed out the house and I kind of got the background going like that so hard to do because I'm composing backwards. Okay. There we are. So, like, you know, I got go going to go below the horizon, the vine here. You could kind of see the ocean in the background. The parking lot isn't really helping, but you get my drift in terms off. What? I'm trying to kind of cell there. Right. So maybe there's a better way to do this Old going into mobile photography now. All right, let's see where you taking us. Ah, here we are. Okay, so I'm going sideways. I'm too. Okay, So, like, you know, Yes, That parking lot wasn't there. It would be I could frame around it. I could crop around it, or it could maybe look, there we go. Put the left, are sitting in front of the cars. There we go. So you have to get creative when you're shooting at home. You dio you do have to get creative. You do have to have the ah, the sense that you know, not everything is going to be perfect. But you can actually crop around things and make certain things easier toe work with. If you're, um you know, if you're kind of in a situation where you're not in a studio, you know, your your home, you're making the best of it, and you're gonna, you know, just outside the frame is the parking lot. Just outside the frame is your cat, you know, So you gotta work it out. That's so you learn about food. Photography is your just zeroing in on a very small area, and then you have no idea what's going on all around you. But that's the fun part about food photography is you can really focusing on the thing. And it really does it matter what's going on around you because it's such a macro photography style? Absolutely. And the thing is that you can turn your three by two tabletop into anywhere in the world with in the back with enough imagination and enough effort and careful intention, you can turn that to buy three space into just about anything you wanted to and yeah, you know what? When I worked for eating well for a long while, what they used to do is send me images of travel photography. That was part of the story that we were gonna work on. So they would goto, um, Florence. Or they would go to the Caribbean or they would go to Peru and they would take all of these environmental pictures that we're gonna be part of this story and they would give them to me first. And then I would match the color palettes and the lighting and the steel of it, the narrative of it in order to match the pictures. And it was flawless because you could. It felt like where I took the pictures was where those environmental pictures were taken. Yes, that was really good training for that. And then I actually later on when I worked with them. The last one of the last stories I worked on them with was about the seven train in New York City, which goes through all of these immigrant neighborhoods in Queens. And it's like a world food tour on the subway, like depending on where you get off the train. So I thought that idea was actually rather special. Um, and I and I did that. I went around that I just took all this environmental photography, and that was the basis for when we went back to the studio and built out the the food work because we didn't shoot food in the field. We wanted to shoot it in a studio, but I did the same thing I used those environmental pictures to influence the propping and the lighting and the setting in the feel of what we were doing for the overall story. So if you google it, you probably could find it. It's chicken on the seven train. I think we called it. It was something like that for eating Well, magazine. It was a lot of fun. I'll try to find it and leave it. Leave it in the comments so people can take a look at it. Yeah, it was cool. It was fun. And it was really It was quite beautiful to meet all those people and kind of weave them into the narrative off the food that they made and the lives that they were living in this sort of international swath of New York City, which is really cool. Yeah, it sounds like that was a really cool project. Well, that brings us to the close of our show. It's one o'clock they went by so fast. I'm sure one by even faster for you, because you're sipping on a cocktail. And now I'm getting in green stuff in my teeth so really good on TV. Alright, Andrew, thank you so much. for coming back to the creative live TV again. This is the work from Home Cafe with Andrew Screw Bonnie. I am Cait Desa, the co host. And each week we're coming back to you at 12 0 clock Pacific time 3 p.m. Eastern. Trying to teach you a new recipe and how to taking beautiful photos of it. So enjoy the cocktail this week and will be back next week by everyone gives everyone.