Q & A With Andrew Scrivani (Round 1)

This is the following the article that i posted a few days back on. The last tip really is a helpful one. Check it out.


If you missed the previous article. Read it here.
For the 2nd part of the Q&A, read it here




Q.
What would you say are some food photography code of conduct when taking photos of restaurant food? I’m tired of “food bloggers” and others taking photos of food, at the same table or next to us, when we’re out to eat. The flash is distracting, and I loathe being forced to wait while my table companions insist on getting a blogworthy shot. What are some ways people can do their photography without being a nuisance to other diners?

A.

My tip to those who take pictures in dimly lit restaurants is to first, turn off the flash, raise the ISO as high as the camera will go without pixelating the images, use a slow shutter speed and a  shallow depth of field (most point and shoot cameras will be able to shoot at 3.5 or even 2.8) and invest in a small tabletop tripod.  I have even taken to using the candles on the table to throw some warm, romantic light on the food … to mixed results. This should help not only the photos but also be more courteous to your fellow diners. I think Randy Cohen, The Ethicist, would agree.

Q.

What’s the best way to avoid having the steam of hot food mess with the autofocus on a close-up shot?

A.

Best way to avoid having your auto focus training its electronic eye on your steamy lobster tails would be to turn off the auto focus. Switch to manual and hand focus the camera on the food that is being helpful and sitting still.  A lower tech solution is to move the steam by blowing on it or even using a small fan to manipulate the steam to your advantage.

Q.

How should one think about food photography for a self-published cookbook, where the same type of shot might get (really) old?

A.

My advice for self-publishing a cookbook would be to have a theme in mind and organize your props, backgrounds and settings in a coordinated way. Keep your lighting consistent. I would also have a “push and pull” approach, meaning push in for some marco shots and pull away for some table shots. Mix up the angles of the shots.

Q.

Can you recommend a point-and-shoot camera with a great macro lens for super-detailed shots?

A.

I have had good experiences with both Canon and Panasonic point-and-shoot cameras.  I own a Canon G10 and a Panasonic Lumix  DMC-ZF7.  I have also heard good things about the Canon Powershot SD 960 IS, Sony Cyber-Shot DSC_W220 and the Panasonic Lumix DMC-ZS1.

Q.

What about shooting pictures of food while it’s cooking? There’s often flames or smoke to contend with – any tips there?

A.

You think flames and smoke are a problem?  I call that a photo op.  Use those organic details to your advantage and try to capture your food in action.  I try to redirect the smoke, sometimes using a fan to keep the food in focus, sometimes I let it be and it makes a great picture.  Try some BBQ shots this summer … and add some extra paper or cardboard to the mix to make bigger flames.

Q.

Are you aware of good fluorescent lights that give off a more natural light for photography?

A.

If you have a RAW setting on your camera shoot in that format.  If you are shooting in fluorescent light you may be able to adjust your white balance in Photoshop or another editing software to make your lighting look more natural.

Q.

Could you take one specific kind of food and give some tips about photographing it? For instance, yesterday I had to take pics of a loaf of prune quick bread. I wanted to the shot to be pleasing to the eye, but also to show reality-size, color, texture, etc– how the bread truly was and how it should look after you made it. Top? Side? Angle? Straight on? On cooling rack? On platter? I did get it outdoors, which was good as it’s snowing today.

A.

My experience has often been that until the food is on the table it is hard to determine what the best angle will be.  I very often have an image in my head and I will sketch my idea and try to re-create the sketch.  Some foods, particularly foods that are amorphous tend to work graphically with really striking or interesting props, often straight on or over the top.  Sometimes food is ugly and in order to made in interesting picture the rest of the setting needs to help out a bit.    With your prune bread, my sketch looks like a few slices, piled askew with one slice showing its face and the prunes inside.  I may use an off color wooden cutting board, an antique knife and shoot it straight on – that’s the image that popped into my head.


Proceed to the 2nd part of the Q&A