TABLE of CONTENTS

PART I 6 INTRODUCTION
7 Making Money in the Food Industry

8 Building a Food Portfolio

8 8 Tips for Shooting Food

12 Forget Winning Entering a Photo Contest Is Its Own Reward

PART II 15 PROFILES
16 Advice for Aspiring Food Photographers from Andrew Scrivani

19 Getting Editorial Clients: Tips from Evan Sung

23 Creative Food Projects: Thinking Outside the Box with Henry Hargreaves

27 A Contemporary Look at Food Photography With Jamie Chung

30 Being the In-House Photographer of Bon Appetit: Alex Lau

PART III 33 CONCLUSION

34 Conclusion

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THE PROFESSIONALS GUIDE TO FOOD PHOTOGRAPHY 3

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Intro

THE PROFESSIONALS GUIDE TO FOOD PHOTOGRAPHY 6

PART I
Intro Food Photography in the Age of
Foodie Culture
ts difficult to pinpoint where and how it
started. Maybe it was the release of Anthony
Bourdains book Kitchen Confidential in 2000.
Or perhaps it was when reality TV shows transformed
the tranquil cooking show into blood sport. The simul-
taneous rise of blogging and social media added fuel to
a simmering fascination. And now, the zeitgeist of our
time comes on a plate, whether its a humble platter of
chicken and waffles or an artfully arranged cheese and
charcuterie board.
How do we know? Its all documented on Instagram.
This elevation of food culture couldnt have happened
without the democratization of photography. Sud-
denly, everyone has a powerful camera in their pocket
and can use it to dispatch their culinary conquests from
kitchens, restaurants, markets and food trucks. Some of
these people, with little formal training, have become
quite good at it. Food bloggers, in particular, must take
quality photos to compete. If you dont believe us, check
out adventuresincooking.com, iamafoodblog.com and
mimithorisson.com.
In The Professionals Guide to Food Photography, well
take a good look beyond the snap-happy dinner partici-
pant and examine food photography from the profes-
sionals perspective. How are the pros making money?
What gigs are they being hired for? What are their best
tips for aspiring food photographers? And more.
Making Money in the Food Industry
Without a doubt, the explosion of food has created new
and greater opportunities for photographers. New digital
properties like Food52, Eater, and Tasting Table com-
bined with an explosion of new products produced by
the artisanal food movement have created new avenues
for food photographers. This is also a great time for pro-
fessional food photographers to branch out and develop
their own aesthetic for this space as it changes and grows.
Here are some types of clients who are looking for food
photography.
MAGAZINES/EDITORIAL: Food magazines, their digi-
tal components and online-only media need a steady
stream of both studio-styled recipes shots and lifestyle-
driven photos to illustrate travel features, trend pieces,
restaurant roundups and profile stories. The big ones
like Bon Appetit, Food & Wine and Saveur come to mind,
but there are few magazines these days that dont in-
clude food in some way. Look into local and regional
publications, newspaper, and other lifestyle magazines
that have regular food columns.
COOKBOOKS: Photography has always been integral to a
good cookbook, and even more so today. High-end cook-
books with beautiful photos are performing surprisingly
well in a struggling book publishing industry, and the rise
of self-publishing is also turning more cooks and chefs
into authors. For cookbook projects, the publisher some-
times hires photographers; other times a cook or chef and
photographer team up to pitch a concept.
ADVERTISING AND PACKAGING: Previously limited to
THE PROFESSIONALS GUIDE TO FOOD PHOTOGRAPHY 7
I the food industry (restaurants, markets, specialty food stores), food photography now
spans a wide breath of commercial/advertising campaigns. Food is most often associ-
ated with comfort and happiness, so its no surprise that clients like American Express
II
and CNN are now seeking food photographers.

III STOCK PHOTOGRAPHY: Although selling stock photography isnt as lucrative as it used
to be, food is a popular topic that stock clients are continually looking for. Instead of
shooting generic photos of ingredients, photographer Taylor Mathis has a good tip:
focus on foods of your region that editors from afar might be searching for.

Building a Food Portfolio

If youre just starting out in food photography, its important to start building a port-
folio. If youre handy in the kitchen, you can experiment with shooting your own food,
or seek out a budding food stylist or culinary student who would like to do some test
shoots with you. This will also help you begin to build a network, which will come in
handy as your careers progress.
When London photographer Nicholas Gooden wanted to build food into his portfo-
lio, he approached a restaurant. I had dinner at a restaurant which I really enjoyed. I
emailed the general manger the day after and said how wonderful the meal was, and
that I happened to be a photographer and I would love to take some photos for them.
Even if it was just a test shoot, Id do it for free for them so they could have photos.
8 Tips for Shooting Food
The difference between good and bad food photography is as clear as night and day. In the
wrong hands, a photo of drooping, overly sauced enchiladas at your local Mexican restau-
rant may make you want to run in the other direction, while another photo of the same
dish could send your stomach growling. Here are some tips to help you achieve the latter.
1. ALWAYS KEEP WHITE AND SILVER BOUNCE CARDS IN YOUR LIGHTING KIT
One essential piece of equipment in your lighting kit should be white and silver bounce
cards, used to gently fill in any harsh shadows caused by window light. Cleveland-based
photographer Ricky Rhodes advises photographers to use these cards to bring details
back into the deep shadows, ultimately adding more color and texture to your images.
Photo by Alex Lau
Bounce cards are also important because you should rarely be shooting into direct sun-
light. As Vancouver-based stock food photography business owner Michelle Furbacher
says, you want to avoid too much contrast so that food looks soft and elegant. You can
also use the bounce cards to direct more light onto the image to highlight certain fea-
tures and make your photos pop.
To get the same effect, Lincoln Barbour, a Portland-based photographer, uses white
and black foam core, and glues aluminum foil on one side for a silver fill. He also al-
ways carries white translucent panels for when the light is too harsh. I use PhotoFlex
LitePanels on the window to soften and diffuse the light.
If youre not into using bounce cards, silver reflectors and mirrors are great options,
too. Megan Young, a Sydney, Australia-based food photographer, prefers working with
reflectors because they can be curved and bent to shoot around.
2. BRING YOUR FOCAL POINT FORWARD
The focal point of any great food image is the dish itself. Props and garnishes are im-
portant, but they should never distract from the main event. Rhodes suggests focusing

THE PROFESSIONALS GUIDE TO FOOD PHOTOGRAPHY 8

I near the front edge of the food. This naturally draws the viewer in to the rest of the
frame. You also typically want to shoot with the aperture wide open to deliver shallow
depth of field and isolate the food in your frame.
II
Furbacher recommends finding the herothe perfectly shaped raspberry, strip of
III basil, or trail of melting ice cream that looks like the part you most want to eat. This
helps you create good bokehthe out-of-focus and intentionally blurred areas of an
image that are pleasing to the eye. A significant amount of blur to the background will
make your focal point really pop, she explains.

Another trick to remember is the golden spiral or @ symbol that starts a central focal
point and then carries the viewers eyes wider to take in the whole frame. Barbour fre-
quently employs this technique. He also recommends shooting at 100 ISO to get the
maximum image quality (and less noise).

3. WHEN IN DOUBT, SHOOT OVERHEAD

Many amateur photographers fall into the trap of shooting food from an angle that
makes it look like its about to slide off the plate. Shooting overhead not only elimi-
nates that possibility, but it also gives you more flexibility to add props to the frame.

But generally speaking, dont limit yourself to one angle. Barbour likes to think of the
three basic angles to shoot food: from above, from the side, and from an angle. Most
food looks good shot at an angle because its usually prepared to be seen that way, he
says. But dishes like salads, charcuterie, and pizza look great from above because they
are flat. Tall dishes (sandwiches, ice cream, beverages) look best from the side because
you want to see the height and layers.

Ive been shooting overhead a lot lately, because it is a great way to emphasize the
graphic nature of food. I tend to compose a photo by moving elements around the
frame so that the shapes and colors complement each other. Plus I think an overhead
shot gives the viewer a different perspective, since we usually see a three-quarters view
when were seated at a table, getting ready to dig in.

4. BUILD HEIGHT
Its easy for food to look flat, especially if its, well, a flat food like soup or spreads. Its
your job to find something interesting about even the most boring looking foods. Food
photographers build height most often by adding garnishes fresh herbs, a dollop of
sour cream, and lemon or lime wedges are all great additions to have on hand. Or, if
possible, literally stack the food.
Photo by Andrew Scrivani

THE PROFESSIONALS GUIDE TO FOOD PHOTOGRAPHY 9

I One word of caution: If shooting a recipe, always check with the editors first, advises
Furbacher. Some editors are really opposed to adding even the smallest edible embel-
lishment if its not listed in the ingredients.
II
5. MIMIC NATURAL LIGHT
III Not every day will be sunny, but that cant stop the shoot. Mimicking natural light is
an art form in itself, and youll need a few extra lighting tools. Young always brings her
Profoto AcuteB portable lighting kit with a large softbox, which acts as a big portable
window when shooting on a cloudy day.

To help give her food photography a fresh and natural perspective, Megan sometimes
shoots directly into the light. Then the dish appears in front of a completely blow out
background with lovely rim light, she says. This technique works well with translucent
foods like lettuce leaves and drinks. The result is a nice highlight that outlines dishes
and makes your images more vibrant.

When Barbour finds himself in a bind, he heads to the brightest spot in the kitchen,
restaurant, studio, etc. and then fixates a diffusion reflector over the food. Make sure
you set your white balance appropriately, he advises. If you want to start using strobes, Photo by Andrew Scrivani
then use the biggest softbox you can and put it as close to the food as possible, usually
from behind and at a 45-degree angle. This will create north window light, and then
its a matter of modifying it like you would with natural light.

Another idea: Rhodes likes to shoot a secondary light directly across the dish and
mimic sun rays coming in through the window. You can use small pieces of foam core
to direct the hard sunlight onto a specific part of the frame. The resulting shadows
add life to your images and bring out interesting details while still keeping soft light
on the food.

A great backup is a continuous light source outfitted with fluorescent daylight bulbs.
You can even use this as your primary light source and fill in the shadows with whatever
natural sunlight is available.

While Jonathans first choice is always to shoot in natural light, he keeps several speed-
lights, small softboxes, and umbrellas on hand to create artificial light. One of my fa-
vorite setups lately is a small speedlight-powered octabox for the key light placed very
close to the food, my trusty $2 foamcore bounce card for fill, and a gridded speedlight
for a rim light.
Photo by Evan Sung

THE PROFESSIONALS GUIDE TO FOOD PHOTOGRAPHY 10

I 6. COMPLEMENT FOOD WITH PROPS OF SIMILAR COLORS AND INTERESTING TEXTURES
Food photography is often about telling a story. Who made this? Whats the occasion?
What season it is? The right props can help you tell this storyjust beware of going
II
overboard.

III Try picking one standout color from the dishsay the strawberries in a strawberry-
rhubarb pieand adding a small element that incorporates that color. It could be
the paper that your dish sits on, dusted powdered sugar on the table, orange slices, a
wooden cutting board, or a cup of coffee.

Furbacher shared some tips for matching colors: Cool colors and deep, rich blues can
make brown and beige foods really pop and come to life. Warm, vibrant colors can
liven up salad greens. You want to enhance the texture, color or contour of your food.

7. MAKE MINIMAL ADJUSTMENTS IN POST TO REMOVE DISTRACTIONS

Much like photojournalists, professional food photographers prize themselves on little
to no post-production. That being said, if a few crumbs or blemishes on the surface
material are distracting, by all means remove them in Photoshop. You can also make
some minimal adjustments to levels and curves, and color balance in Lightroom to get
the exposure where you want it.

Some photographers also like to play around with the contrast, highlights, shadows
and blacks. Certain fine-tuning can help further enhance your images, but strive to do
95% of the work should in camera.

8. BEWARE OF FOODS HALF-LIFE.

Nothing can kill a photo faster than having the food sit under a heat lamp while you
fiddle with your camera, says Jonathan. Unlike other subjects, food has a very short
window of time when it looks good enough to photograph. That means you have to get
your act togetherfast.

When Im working with a chef at a restaurant, I always make sure that I have my shot
planned, my lights (if any) set up, and that Im ready to start shooting the instant the
food is brought out.
Photo by Jamie Chung
Still, says Jonathan, Some foods can be revived a bit. For example, brushing a little
vegetable oil on a steak that is starting to look dry. But its always better to get the shot
while the food is fresh.

THE PROFESSIONALS GUIDE TO FOOD PHOTOGRAPHY 11

PART I
Forget Winning ntering a photo contest seems to be less about the winning and more
about the enteringa digital expression of Emersons adage that its not
Entering a the destination that matters, its the journey.
Photo Contest Is As my association, the IACP (which represents pho-
tographers, writers, bloggers, publishers and others
who work as communicators in the food sphere), starts
Its Own Reward its own journey into launching a food photography
contest, I talked with photographers to learn what they
value in contests.
Featuring Martha Holmberg, CEO,
International Association of Culinary Professionals Exposure seems to be the key motivatorcontests mean
judges, and judges are top creative directors, photo edi-
tors, and others who commission work.
Entering a contest provides an excellent opportunity
to get your work in front of prestigious judges. So
even if you dont win, at least your photography is
seen, says Ellen Silverman, a food and travel pho-
tographer whose video work in Cuba was selected by
several film festivals.
The judges arent the only ones judging, however. Ev-
eryone I spoke with made a practice of checking out
the judges own work to get a bead on their aesthetic, in
hopes of selecting images that might be more appealing.
Photo by Laura Dart
The composition of the judges can signal whether you
want to enter a particular contest. Research the competi-
tion and the judges before you enter, advises Evi Abeler,
food and still-life photographer and co-founder of the
blog Whip + Click.
Be aware of all the low level contests that just cost you
money! There are some free and wonderful contests on
Instagram that can get you a lot of recognition.
Photographers use contests to judge their own work, to
assess their strengths, and to determine where to go next
creatively and commercially.
One of the greatest values of entering contests is that
you have to go through the years work and decide what
is worth entering, says Mike Davis, former picture edi-
tor at The White House and National Geographic, now
the Alexia Tsairis Chair for Documentary Photogra-
phy at the Newhouse School of Journalism at Syracuse
University. That presents the opportunity to edit your
archive from a broader perspective.
Through contests, I am constantly learning where my
strengths and weaknesses are, says Kristin Teig, a food,
travel, and lifestyle photographer. When she won Range-
finder magazines Lifestyle Photography Competition in
2014, it was an amazing feeling to receive recognition
for a specific type of photography, which helped me de-
termine where I should focus.
Chef-turned-food photographer Michael Harlan Turkell
agrees, having entered his first contest when still a stu-
dent. He won a Photo District News award for a series
documenting the restaurant kitchens.
THE PROFESSIONALS GUIDE TO FOOD PHOTOGRAPHY 12
I

II

III

Photo by Ellen Silverman Photo by Michael Harlan Turkell

I thought it would be a good meter of where my work stood in the professional realm.
Contests allow me to determine what I may need in order to better myself and make
myself more marketable, says Turkell.

Self-editing can be brutal, however. How to choose the best images? If you cant decide
which images are best, ask people you respect to offer an opinion, which can be a learn-
ing experience in itself, advises Davis.

For Silverman, her agent often plays that role. I get attached to certain images, which is
why I find it helpful to find someone else to help with final edit. For a recent submission
to a PDN contest, I asked my agent for her opinion, and I also talked with the stylists
who collaborated with me on the images I was considering.

You have to look for some way to narrow it down, says Todd Coleman, photographer,
former food editor of Saveur magazine, and co-founder of Delicious Contents. Should
I enter the crowd-pleasing image that I know gets a positive reaction, or should I enter
the one I really love and that means more to me personally?

Photo by Kristin Teig

THE PROFESSIONALS GUIDE TO FOOD PHOTOGRAPHY 13

I With multiple images, Coleman creates a group with dynamic range. If one image is a
portrait, Ill make sure the next will be more of a decisive moment image.
II
So does winning actually matter? I try to submit and then just let it go, says Andrea Bric-
co, a food and lifestyle photographer and artist. Im not waiting with my fingers crossed for
III the winning phone call. I think in this business you have to have thick skin and get used to
people telling you no.

Not for a minute did I think I would win, says Coleman of a recent contest submis-
sion, but I would have felt remiss if I hadnt submitted you need to get your work out
there. I dont believe anyone who says they dont want their work to be seen.

For information on IACPs food photo contest, visit www.iacp.com

Photo by Michael Harlan Turkell
www.ellensilverman.com
www.deliciouscontents.com/founders
www.eviabeler.com
www.newhouse.syr.edu/faculty-staff/mike-davis
www.kristinteig.com
www.andreabricco.com
www.harlanturk.com

Photo by Michael Harlan Turkell

THE PROFESSIONALS GUIDE TO FOOD PHOTOGRAPHY 14

 PART II

Profiles

THE PROFESSIONALS GUIDE TO FOOD PHOTOGRAPHY 15

PART II

Advice for former teacher turned food photographer, Andrew Scrivani is best known
for his regular editorial work with The New York Times. Other editorial
Aspiring Food clients include Conde Nast, The Wall Street Journal and Eating Well, and he has

Photographers shot advertising campaigns for Red Lobster and Sargento Cheese. Based in
New York, Scrivani also writes and teaches workshops about food photography.
featuring Andrew Scrivani

How did you break into food photography? What inspires you about working with food?

I was working as a teacher and administrator in a private
school but had been a pretty skilled amateur photogra-
pher since college. A lot of my friends were involved in
the photo industry so I had made some contacts among
editors. One of them happened to find out that I knew
how to cook and asked me if I wanted to try to shoot
food. Of course I acceptedit was The New York Times.
Food is omnipresent. It is and will always be a huge part
of our lives, our cultures, our relationships and our psy-
chology. I keep a running list of food-related terms in my
phone. I look at it and occasionally add to it when I think
of another way food touches our lives. I dont think it is
just about making beautiful images. Its also about telling
compelling stories either about food or about people, and
food happens to be the canvas to tell the story on.

How did you make the leap to shooting full-time?

I was very fortunate that my first actual client was the
andrewscrivani.com Times. I was doing small jobs for them, but if was still
Instagram: @andrewscrivani the Times. I saw that opportunity for the huge break it
Twitter: @andrewscrivani was and used that good fortune to be able to introduce
myself to more potential clients. I was very aggressive
and said yesa lot. I was trying to do all this while
having a small child and a full time job. I was hungry
to do something else with my life and my creativity, so
I didnt sleep much.
What are the main challenges of being a food photographer?
Space is always an issue for new photographers in my
experience. Learning how to use the space you have, the
light that is available to you, is paramount.
The camera settings seem to be another daunting task
for many new shooters. I advise new photographers to
learn the gear they have, no matter what it is, inside and
out. Once you can absolutely master one camera you
have the capacity to master any camera. This alleviates
anxiety and opens up your ability to learn better.

THE PROFESSIONALS GUIDE TO FOOD PHOTOGRAPHY 16

I How often are you working with a food stylist? How much
do you style yourself?
II
I work with a stylist most of the time these days. I have
relationships with a half dozen talented food stylists
III who rotate and work with me regularly at my studio.
I will occasionally style the food myself, but its usually
things that are either quick to assemble or baking as-
signments. I like to bake.

What is the relationship with a food stylist like on set?

How do you ensure the relationship works and produces
good photos?

In my studio, I hire the stylists, and even though I always

see the relationship as one of mutual respect and col-
laboration its clear who is ultimately responsible to the
clients. As the photographer, I am the person who has his
name on the photo and has to interface with the editors
and creative directors. The stylists are integral to my work,
but its still my job to direct the shoot and make sure my
vision and the vision of the assignment as being realized.

Good communication is key to having good working

relationships. I have great respect for the artistry of food
and prop stylists and I make sure to express that on set.
I also try to respectfully explain when I am not happy
with something that comes out of the kitchen. I try
to problem-solve and not point fingers. These jobs are
hard at times and require patience and understanding to
make consistently good work.
What tips do you have for photographers who are not work-
ing with stylists?
Take your time and hurry up. I know this is an oxy-
moron but what I mean is you need to train your eye
to recognize small issues with the subject really quickly.
You see that brown spot on the fruit or the imbalance in
a plated dish and make the correction quickly before the
food dies on the table. Its hard, but the longer you do it
the faster you get.
Also, you need to try to resist the urge to be the pho-
tographer before you are done being the stylist. You
need to use one part of your brain at a time. If you
rush into the shot you will miss something and then
be disappointed.
Photo by Andrew Scrivani
What is essential in a styling and lighting kit for food
photographers?
For Styling, chopsticks, tweezers, a spray bottle, bast-
ing brushes, Q-tips, a ruler, good sharp knives, a few
good pairs of scissors and always have a bottle of oil
for glossing the food.
For lighting, you always need a few different light
scrims and bounce cards both black and white in all dif-
ferent sizes. For manipulating daylight these things are

THE PROFESSIONALS GUIDE TO FOOD PHOTOGRAPHY 17

I essential. Also some rolls of gaffers tape (B+W), some
cinefoil and a few A-clamps.
II
What advice do you have for aspiring food photographers?
III How can they improve their skills and build a portfolio?

The one thing that seems to be very consistent among

young photographers when I review their portfolios is a
lack of specificity. Young shooters tend to be all over the
map, shooting in multiple genres and not really showing
a specialty. In my experience, once you have committed
to a particular area of photography you are able to refine
what you do and get better at that particular thing. Also,
then when you show your portfolio to a potential cli-
ent they know who and what they are hiring. An editor
should be able to tell if they like your work, your style
and your focus within the first five frames in your book
or website. If your work lacks a defined style and direc-
tion you will not get hired for good jobs.

Photo by Andrew Scrivani Photo by Andrew Scrivani

THE PROFESSIONALS GUIDE TO FOOD PHOTOGRAPHY 18

PART II

Getting Editorial van Sung didnt decide on a career in photography until after college, so he
learned the ropes as a studio manager and assistant in New York and in Paris.
Clients: Tips He says he fell into his current focus on food photography, but assisting Paris pho-
Featuring Evan Sung tographer Giacomo Bretzel primed him for it. We had some great adventures on
food photography stories, says Sung, who now lives in Brooklyn, N.Y. We ate well,
and great food was bound up in travel and new places and people.

Since Sung returned to New York 10 years ago, he has
built a food-focused client list that includes The New
York Times, Vogue, Wall Street Journal, GQ, Bon Appetit,
Food & Wine, Gourmet, Art Culinaire, Delta SKY, and
others. His work also appears in several cookbooks, in-
cluding To The Bone with Chef Paul Liebrandt, Clas-
sico E Moderno with Chef Michael White and North
with Icelandic Chef Gunnar Gislason.
How did you break into editorial food photography?
When I moved back to New York City in 2004, I shot
for anyone I could. I ended up shooting assignments for
a paper called The New York Sun. One of my first assign-
ments was shooting a restaurant review. I enjoyed doing
it, they seemed to enjoy what I had shot, and it became
a regular gig.
www.evansung.com
Twitter: @evansungnyc Things snowballed from there. After about a year or so, I
Instagram: @evansungnyc got a call from The New York Times and began doing the
same for them, shooting restaurant reviews during Frank
Brunis tenure. From there, I was meeting the whole
spectrum of New York City restaurant personalities.
What challenges can a photographer expect in this par-
ticular niche?
Its a saturated market, in a way that I dont think it was
before 2004 and 2005. There is a ton of opportunity out
there. New things are happening every day all over the
country. So the challenge can be finding and building
your niche in a very crowded industry. Ive definitely no-
ticed even a lot of non-food photographers adding food
sections to their portfolio sites. People are crazy for food!
There are technical challenges, toolighting, equip-
ment, all the things that make it a craft worth working
at and perfecting. And then there are budgets, the rise of
social media, the changing media landscape, all of which
conspire in various ways to make things both exciting
and challenging at the same time.

THE PROFESSIONALS GUIDE TO FOOD PHOTOGRAPHY 19

I What are your tips for attracting the editorial clients you want? What marketing tactics
do you use?
II
In the past, Ive definitely enjoyed designing and printing my own mailers that I would
send out to clients. I always thought there was great value in sending out something
III visual that photo editors could hold in their hands. I also do cold calling and emailing.
I try to set up meetings and get to know people and faces, and get them to know my
work and who I am. Lots of research can go into really understanding who your targets
are and how your work fits, or doesnt fit, with what they are doing.

I also think building a name and reputation for yourself is important. A lot of things
come my way by word of mouth.

What is your social media strategy?

I cant say I am the most aggressive social media person out there. I keep hearing that
Facebook still is very powerful, but Im rarely on it. The one thing I do with genuine
pleasure is Instagram. In the last few years, Ive tried to be more conscientious about
what I put on there and how often. I tend to generally focus on promoting new work
or putting out images from cookbooks and stories from the recent past. But Ill always
put out the random image or travel-related ephemera just for the fun of it. I really do
enjoy the communal aspect of Instagram, and have made so many nice friends and
connections from it.

How does social media pay off for you?

I know for certain that it does pay off for a lot of photographers. I cant say with any
certainty that it has paid off for me in the sense of bringing in all new clients and
work, but I do feel like its great for maintaining and reinforcing work relationships.

What can a new photographer do to build positive relationships with photo editors? How
do you ensure that they will want to hire you again and again?

I think its usually just a lot of common sense stuff. But often I end up in conversa-
tions with people, and some of the stories I hear make me wonder if common sense
in short supply. Be punctual, be responsive, be agreeable and be collaborative. Dont be
Photo by Evan Sung

THE PROFESSIONALS GUIDE TO FOOD PHOTOGRAPHY 20

I obnoxious, dont be a diva, dont be short tempered. I often hear from clients, We love
working with you because youre so calm! I just think, What is going on out there on
those other shoots?
II

III What tips do you have for aspiring food photographers? How can they build a portfolio
and find their first clients?

As I mentioned before, we live in a very saturated market, so there are opportunities ev-
erywhere. If you cook, great! Cook something, shoot it, and practice, practice, practice.
If you dont, reach out to some new restaurants, if it seems appropriate, and establish a
relationship to build up a portfolio. I really do believe this is a technical craft as well as
a service industry, to some extent. And I do believe photographers should be paid what
they are worth. But starting out, I think its fair to be transparent and make an arrange-
ment that works for everyone if it can mean building a portfolio.

Can you offer any advice about successfully working with large publications such as The Photo by Evan Sung
New York Times?

Id refer back to the common sense answer. Working with the Times should be like
working with any publication. Deadlines are shorter, budgets are smaller, but all the
same principles apply.

How did you get into shooting for cookbooks?

Early on, I was lucky to work with an amazing producer, Lauren Deen, who brought
me onto some fun projects. One of them was a TV production [Cook Yourself Thin,
Lifetime, 2009] that actually also came with a cookbook project, which was my first
cookbook project. It was a great experience, I learned a lot, and the book actually was
a bestseller on its release.

From there, I tried for a while to enter more into the cookbook space, but in all honesty,
I probably had more work to do. Things happen at the right time I guess. In the last
three to four years, cookbooks really began to take off for me, and I began to build good
relationships with the art departments at various publishing houses. They can be chal-
lenging, intense projects. But nothing quite beats holding that final result in your hand Photo by Evan Sung
and seeing it on store shelves (while we have bookshops, anyway).

THE PROFESSIONALS GUIDE TO FOOD PHOTOGRAPHY 21

I What is your take on the explosion of food culture in recent years? How has this affected
food photography?
II
The enthusiasm for food and chefs and restaurants seems all-consuming, and has been
for the last decade or so. In the end, it has to be a good thing. The way people eat
III around the world has changed. American food culture has evolved, or maybe returned
to, a deeper appreciation for quality and a connectedness to our own foodways. We
also have developed an appreciation for an ever-expanding range of food cultures. That
obsession has also led to a great sophistication about food imagery. People are more
attuned than ever to how food looks, is photographed and is expressed.

There are times when it all seems a bit much, and I want to take a break from the whole
thing. But then I just start getting hungry for a great slice of pizza or a good bowl of
ramen, and Im right back where I started.

Photo by Evan Sung

THE PROFESSIONALS GUIDE TO FOOD PHOTOGRAPHY 22

PART II

Creative Food
Projects: Thinking
Outside the Box
Featuring Henry Hargreaves

henryhargreaves.com
Facebook.com/Henry-Hargreaves-photography
Twitter.com: @henry_photo
Instagram.com: @henry_hargreaves_photo

native New Zealander and current resident of Brooklyn, N.Y., Henry

Hargreaves, didnt move to New York to make it as a photographer. He
was a fashion model and bartender who eventually realized hed rather be be-
hind the camera than in front of it. Now, with work spanning the worlds of fine
art, commercial and editorial photography hes best known for food-focused vi-
sual projects, like a series recreating the last meals of death row inmates or maps
of the continents made of food representing their regions.

THE PROFESSIONALS GUIDE TO FOOD PHOTOGRAPHY 23

I

II

III

Photo by Henry Hargreaves

How did you get into photographing food?

I started off doing more commercial and still life photography and was working at a
restaurant. I just loved the way food says so much about us thats really hard to articu-
late. I started to get a lot of food assignments and realized that people werent really do-
ing that many interesting things with food. I wanted to use food as a sort of storytelling
device in this common denominator between the viewer and the subject.

I do very little editorial work because I hate that process of design by committee. The art
directors so seldomly come on set these days. Instead they want you to take a picture and
email it to them. Then they show it to their team, everyones got an opinion, it comes back,
and they want you to change something. It goes back and forth, and its not a very creative
and fun process. And it doesnt pay much. I do it every now and again when its a prestigious
magazine or someone I really like or as an opportunity where I can get full creative control.

For my personal work, I commission myself to do the project. I became a photographer

to have fun and be able to tell stories so thats why my personal work becomes priority.
Photo by Henry Hargreaves

THE PROFESSIONALS GUIDE TO FOOD PHOTOGRAPHY 24

I How do you turn personal projects into paying work?

I monetize it in terms of usage from magazines if they want to publish my pictures.

II
It also leads to gallery shows. Things start going around the Internet like wildfire, and
before you know it people want to show the work because now its tried and true. They
III can see how many views Ive had and how many times things have been shared. I also
do commercial work because thats what brings in the money that allows the personal
work to happen. Im really lucky to be at a point now where a lot of the commercial
work is based on my personal work. Thats a really great place to be.

Do you consider yourself a food photographer?

I dont really consider myself a photographer anymore. Im really more of an artist or a

food artist. The photo really just documents what I made. I came from more of a tradi-
tional photography background, but to me the art is in what Ive concepted and made.
The picture documents it so it can be shared with other people afterwards because food
is so temporary. Its a sculpture. I feel that the way photography is moving these days,
so many of these pictures could be taken by anyone. I dont see my value as being a
photographer. I see my value as being an artist.

What are your brainstorming techniques for coming up with new series concepts?
I get a lot of my ideas from trawling the Internet and seeing blogs. I dont look at much
photo-related stuff because if I see something I really like I often get more of that sense
of I wish Id done that as opposed to it inspiring me to do something totally different.
I look much more at graphic design blogs and funny lifestyle things. Ill see something
and think, wouldnt it be fun to turn that concept on its head and make it out of food.
Ive literally got a black book full of ideas. I always say an idea is worthless until youve
actually gone and executed it. I have no idea whether the concept is going to be good
or bad until Ive done it. To me, the most frustrating thing is to not do these things, to
be that person who has a million ideas but is always too busy. I think the mark of any
successful creator is to be able to find time to make these things happen.
Photo by Henry Hargreaves
Do you work with stylists?
My primary collaborator is Caitlin Levin. We started off as more of a photographer and
a stylist, but I think the relationship now is we see ourselves as equal collaborators. Sure,
shes a stronger cook and Im strong with photography, but ultimately, they are skills that
can be learned and anyone can have. So when we make things together, we both get
involved in the process. Shell weigh in on how she thinks things could be lit better, and
Ill actually get my fingers dirty in the whole food thing, rearranging and organizing and
cutting. So it becomes a total collaboration. I like that. I dont think that we should define
ourselves with these boundaries. I work much stronger with people bouncing ideas off
people. And because she hasnt learned the way Ive learned about things, she has a very
unique perspective, which can take things to these great and unexpected places.

THE PROFESSIONALS GUIDE TO FOOD PHOTOGRAPHY 25

I How has your unique take on food translated into securing clients? What kinds of clients
are interested in your work?
II
Ultimately I try to stay true to myself with my personal projects and create something
I would like to see. I just assume theres an audience of like-minded individuals such as
III myself out there. So ultimately it becomes something that people want to share. And its
not aggressively commercial. Clients are coming to me now and saying what you do is
really fun and sharable. For instance, MasterCard came to Caitlin with a campaign about
going out and having a dinner for two. They asked if we could do some cool food things
that relate to a memorable experience on a table for two people. Its not so much an ad;
it was more just a cool image they can associate it with. Thats where a lot of things are
moving because traditional advertising is dying a slow death. People arent really watch-
ing TV ads anymore, and its all becoming about the Internet. The future is to create
content that very subtly is product placement but is driven by really cool, fun imagery.

How do you go about pitching this work for publication or commercial use?

Ive got an agent who does a lot of that for me. I dont want to be that aggressive sales-
person. I want to go in and just show people the projects Ive done and explain what
theyve meant to me. The agent can do more of the business side of things. But when
they do come to me with a direction, Ill sketch what I think will be fun and interesting
and also talk to people who I might collaborate with. Ill present my idea and say if that
works for you, lets do it. But I really dont like too many revisions.

The other thing that happens that Im totally transparent about is if someone asks me
to execute a concept and its a good day rate, Ill do it because thats what pays the rent
on my studio and allows me to do all those sorts of things. With commercial work, you
often dont have your name attached to it so you can make those compromises.

What are your thoughts about contemporary food photography?

I think for me the future of this genre is massive. Suddenly the great cameras on the
smartphones have allowed everyone to become a photographer, and food has become one
of the biggest themes that people are shooting. So suddenly the awareness of food pho-
tography is rising and, with it, food art, because content is always going to be the primary
thing. Really good content with good pictures is what swims to the top of the surface.
Photo by Henry Hargreaves
Its going to be interesting to see how it all goes in the next 10 years. Im excited. Im
enthusiastic about it, and Im going to keep moving forward, creating my own things
and pushing the envelope.
THE PROFESSIONALS GUIDE TO FOOD PHOTOGRAPHY 26
PART II

A Contemporary fter a short stint as a photo assistant after graduating from Parsons School
of Design, Jamie Chung struck out on his own as a still-life photographer
Look at Food in 2008 working with clients such as New York Magazine, V Magazine, and more.

Photography Today, the New York-based photographer shots creative takes on food and drinks
for a mix of editorial and commercial clients like TIME, Bon Appetit, GQ, Real
Featuring Jamie Chung
Simple, Bacardi, Stella, Dove chocolate and Finlandia.

How do you characterize your place in food photography? Not so much. I try to approach each subject as unique.

As a studio photographer I try to create something

through the setting and lighting that transforms the
subject somehow. Im a big fan of natural light photog-
raphy for cooked dishes. And natural light hasnt been
my main focus thus far, so I have mostly steered my food
work toward drinks and ingredients.
Most of your work seems to be still life, and much of that
involves food. What do you like about working with food
as your subject?
What techniques do you use to light food shots?
I try to take each subject, audience and intent in to ac-
count when Im considering how to photograph. (Its
not like I have one lighting setup that I apply to each
project.) If the intent is all about the taste appeal of the
food I will approach it much differently than if Im go-
ing for creating something otherworldly. For lighting,
Im always messing around and experimenting with new
gear, but the main kit I love is Broncolor.

As a still life photographer Im often trying to bring life

jamiechung.com
jamiechungjournal.tumblr.com
and a mood to manmade objects. With food and drink
photography, we begin with organic subjects. I believe
natural beauty often surpasses anything manmade.
Do you approach a food shoot differently than your other
still life work?
What kind of creative direction do you receive from clients
and art directors, and how does that affect your concepts?
The creative direction from project to project can be vastly
different. Sometimes clients need something very specific
where my job is to execute and bring the concept to life.
Other times Im sent some copy and have free reign to

THE PROFESSIONALS GUIDE TO FOOD PHOTOGRAPHY 27

I brainstorm the creative. For a recent food-related shoot I did for GQ Germany, the pic-
ture editor gave me a list of ingredients, said they trusted me, and set me loose.
II
First and foremost, I must be pleased with the work, and it is rewarding having com-
plete control of the creative. On the other hand, some of my favorite photographs have
III been collaborations, so Im very open to outside ideas and direction.

How do you plan out food shots prior to shoots? How often do you work with food stylists?

Planning usually starts with a back and forth with the art directors and photo editors,
sketching, and assembling the team for the project. Almost every time theres food in
the shot, a food stylist will be on the team.

What is the stylist/photographer relationship like on set? What are your tips for a new
photographer for working with stylists?

Stylists have a very important role. In a food scenario, I rely on them in many ways.
Some examples include finding the out-of-season ingredients, applying the perfect
sweat beads on a bottle, having an opinion on whats going to work in camera, and
much more.

For a photographer just starting out I would suggest trying to find and make work with
a food stylist who is just starting their career as well.

How has the food photography landscape changed for you with the recent rise of food cul-
ture? Do you have more or different opportunities?

With people so interested in and participating in food culture there is always a new
trendy dish, cocktail, drink, snack or ingredient that needs to be pictured. This can only
be good for a photographer.

Photo by Jamie Chung

THE PROFESSIONALS GUIDE TO FOOD PHOTOGRAPHY 28

I

II

III

Photo by Jamie Chung Photo by Jamie Chung

What do you think sets you apart from other food photographers? Whats your unique take?
Im very focused on making a powerful picture and creating something Im pleased
with. Whats unique is whats pleasing and what works for that specific project or
shoot. Of course I go in to each shoot with my own mental toolkit, experiences and
inspirations, but I try to be open to the unexpected through experimentation on set.
Many times food from a still life approach is less about showing off a chef s skills in
cooking and plating and more about transforming, composing, building or abstracting
the ingredients with lighting and camera work.
and feet still attached. I sent my assistant to a live poultry shop to procure a whole bird.
The process was pretty intense for him. I was happy with the picture. Its stark but still
has an intensity and rawness to it.
Do you have any last tips for budding food photographers trying to break into food
photography?
Search for your unique take. Experiment and practice.

What are some of your favorite food shots? Why?

Recently I was hired to shoot chicken for GQ Germany. The direction I was given
was simply raw chicken. So after capturing a few grocery store birds the food stylist
brought, we decided it would be more intriguing to shoot a full chicken with the head

THE PROFESSIONALS GUIDE TO FOOD PHOTOGRAPHY 29

PART II

Being the hotographer Alex Lau started shooting when he was 16, first in sports and
then photojournalism. While he didnt study photography in college, he in-
In-House terned for Bon Appetits photo department while he was a junior at Emerson Col-

Photographer of lege and landed a coveted job as the magazines in-house photographer shortly after
graduation, just over a year ago.
Bon Appetit: How did you originally get into food photography? And
Featuring Alex Lau how did you land the job at Bon Appetit?

Prior to interning at Bon Appetit, I had no experience

with food photography. It wasnt until I met Alex Pol-
lack, our Photo Director, that I discovered all of the
intricacies of what goes into making food look good
on camera.

alexlauphotography.com/food
Instagram.com: @yungbludlau
As for how I landed the job at BA, it was sheer luck and
good timing. I never had plans to pursue photography
as a career, and never majored in it. I was actually in the
final stages of interviewing for a media fellowship with
The Atlantic and a position at Teach For America, when
Alex Pollack shot me an email asking if I was interested
in a photo and video position at the magazine. Naturally,
I said yes and hopped on a bus to New York to inter-
view for the gig. Three days later, I was offered the job.
I wouldnt be where I am now without Pollack, and am
forever grateful for that.

Photo by Alex Lau

THE PROFESSIONALS GUIDE TO FOOD PHOTOGRAPHY 30

I What are your day-to-day responsibilities for Bon Appe-
tit? What types of shoots do you get to do?
II
One of the aspects of my job that I enjoy the most is the
unpredictability of my schedule. A regular week can in-
III clude shooting in the office studio, flying out to California
for a travel story, and covering a dinner by a visiting chef.
The types of shoots that I do are mainly food, but I am oc-
casionally asked to shoot portraits or travel pieces as well.

Are you also commissioning work from other photogra-

phers for the magazine?

Thats more along the lines of something our photo edi-

tors would do, but I have set up and produced shoots for
our website. Although its a little out of my element, its
always good to get a grasp of how photo editors think
and just what goes into a producing a story.

What is your relationship to the creative director, and

how do you two work together to create great photos?

Alex Grossman has been an amazing influence and men-

tor in terms of helping me become a better photographer.
He knows how to play to my strengths while improving
my weaknesses as a photographer. Our process includes
weekly meetings where we review past shoots and concep-
tualize future shoots. When Im in the studio, I send pho-
tographs to him as I shoot, and he replies with comments.
are. When working with a stylist, think of them as your
teammate. Youre in this together. Theres going to some
compromise on both ends, but both of you should be
striving to create something beautiful and fun.
Photo by Alex Lau
is just as much their voice as is the way the food tastes.
If shooting on set without a stylist, pull some reference
photos of similar looking food that visually appeals to
you and use that as inspiration.

Do you work with a food stylist? If so, what are your tips
for working with a stylist?
For most of my shoots, I work with Dawn Perry, our
Digital Food Editor. Shes a lovely person to work with,
and helps my photographs look much better than they
What are your tips for styling when you dont have access
to a stylist?
Well, my styling skills are close to nonexistent, so take
my advice with a grain of salt. If youre shooting in a
restaurant, let the chef do the plating. The way they plate
What are the pros and cons of being a staff photogra-
pher? Are you able to fit in personal work or work for
other clients?
The pros are that I get to eat, travel and photograph for a
living without having to worry about not having insurance

THE PROFESSIONALS GUIDE TO FOOD PHOTOGRAPHY 31

I

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III

Photo by Alex Lau Photo by Alex Lau

or when my next paycheck is coming in. A con of being the
staff photographer is that my schedule is constantly booked,
which can result in working late or on weekends, but thats
just one of the few pitfalls of having a fun job. I am fortu-
nate enough to be able to shoot for myself or freelance.
What advice would you give to aspiring food photographers?
suggest reaching out to them to work on a couple of
shoots to get a grasp of what its like to work with a
stylist. But I would say that the most important way to
build food photography skills is to assist for a prominent
photographer. The amount of knowledge someone can
accumulate on set is way more effective than anything
you can teach yourself.
Whats the most valuable thing youve learned about food
photography so far at Bon Appetit?
Working at Bon Appetit has taught me that truly great
food photography tells a story. Everything from the props,
the lighting, and food should be able to evoke a certain
lifestyle and feeling just by looking at the photograph.

Either intern for a food publications photo department
or assist for any photographer that has shot for the more
well known food magazines. Shoot as often as you can.
How can they build their food photography skills?
Collaborating with prop stylists and food stylists is in-
credibly beneficial to a photographer. Freelance stylists
are always looking to build their portfolios, so I would
What do food magazines look for in a photographer?
Somebody who knows how to make food look good,
can shoot things beyond food (people, interiors, trav-
el), and most importantly is easy to work with on set. I
know of many photographers that have been blacklisted
from working for publications simply because they dont
work well with editors. There are an unlimited number
of good photographers out there, and what makes you
get hired again is if you are likable.

THE PROFESSIONALS GUIDE TO FOOD PHOTOGRAPHY 32

 PART III

Conclusion

THE PROFESSIONALS GUIDE TO FOOD PHOTOGRAPHY 33

PART I

Conclusion he elevation of food culture today could not

have happened without photography. This ex-
plosion has created exciting opportunities for
professionals who are connecting with more clients in
the editorial, advertising and book publishing space.
We're also seeing a rise in serious food photographers
who are developing a unique style to better grow their
networks and land gigs they want. Moving forward,
we're excited to see what the future of food photography
holds and how professionals will push the envelope to
showcase their skill, advance their businesses, and im-
pact their bottom line.

THE PROFESSIONALS GUIDE TO FOOD PHOTOGRAPHY 34

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