A few kind souls have asked recently how I improved my food photography since my early days of blogging. I studied photography a bit in high school and college, but had never realized how much is involved in shooting food. It's surprisingly complicated! So, since there is no quick answer to that question, I wanted to share a handful of the resources, materials, and tools that I've found helpful over the past 5 years along with some fun (i.e. embarrassing) before and after shots.
A note about affiliate links in this post: some of these links will take you to Amazon where I may receive a small percentage of sales, at no extra cost to you. I actually prefer supporting local businesses, and buy all my photo equipment from Samy's in San Francisco. B&H is another excellent resource for photo equipment with prices competitive to Amazon (and a much nicer website with more trustworthy reviews from the pros).
1. A dSLR camera
One morning three years ago, I dropped my camera in breakfast. At the time, this seemed like a great tragedy, but it ended up being for the best. I'd been using an outdated point and shoot courtesy of Jay. The viewfinder was so small that shooting on anything but auto was impossible; I couldn't control anything. In an attempt to get the dramatic blur that I thought of as "professional-looking" I would get up as close as possible to the food. (I also didn't have any interesting props or backgrounds to merit pulling back from the shot – more on that later.)
OMG, what is that? Is it going to eat me?! Oh, it's bacon. |
I didn't know about white balancing back then, so my photos often had a (then) undesirable blue cast that I wasn't able to adjust adequately. (Now I've learned to love and work with that cool light, and how to balance color more effectively when shooting RAW in Lightroom - more on all of that later.)
This blue-hued light drove me nuts. Warming it up in iPhoto just made it look off. |
Choosing a camera was agonizing. I spent months buried in specs and reviews, asking every photographer I knew for advice. Finally my friend Pete Lee said, "I don't trust technology with my images. Get a dSLR." But which one? I eventually headed to a camera store and found it supremely helpful to be able to hold the various options. Canon's Rebel T2i, their second cheapest dSLR at the time, felt the most comfortable in my hands. It was small and easy to grip, and it didn't scare me the way the larger bodies did. I went for it. (The current model is the T5i.)
With this camera, I had more control over the images, and felt more comfortable pulling away from the shot to show more of the set-up. (Plus I began investing in some more interesting props: silver flatware, linens, and some small bowls – more on this later.)
One of my first dSLR shots: Meyer Lemon Buttermilk Pie |
2. Shooting in RAW format
Digital cameras can convert the information that their sensors capture into either RAW or JPEG format. JPEG files have the advantage of being smaller files (only by a factor of 2 or 3) but the way they slim down is by throwing away information. They also alter the images, giving them a boost in contrast and color, which can make everyday shots pop more from the get-go. The downside is that you lose some control over your image. If it's over- or under-exposed, or if it contains very dark shadows or bright highlights, the JPEG will throw away the information within the black or white areas. If you want to bring back that detail, you can't – it's gone for good.
Two-Persimmon Tea Cake and too-bright whites in 2010 |
A bright, RAW shot with detail brought back by decreasing the highlights in Lightroom, 2014 (and GF Grapefruit Custard Pie) |
But the biggest difference that I noticed when shooting RAW was that my images looked softer and more natural, with even tones and fewer glaring highlights. They looked more like the professional photographs I was trying to emulate.
JPEG image with harsh highlights in the background: Sparkling Whiskey Gingerade |
Softer image shot in RAW format: Berry, Plum and Rose Sangría |
(That being said, one of the best photojournalists out there, Craig Lee of the Chronicle, shoots entirely in JPEG. He's a master of getting the image just right in the camera, even in difficult lighting situations. His latest book, San Francisco Chef's Table, overflows with these stunning images.)
3. Editing images in Lightroom
I had been using iPhoto for edits, and later Picasa. Both of these programs helped to brighten, sharpen, crop, and saturate images, but often left them looking fake.
A not-so-hot shot of a favorite pie: Maple Bourbon Pecan |
At the suggestion of my photographer friend Stephen Texeira, I invested in Adobe's Lightroom, which was $120 well spent. Lightroom is downright magical. It's easy to learn (thanks to Julieanne Kost's great tutorials) and it can make images look amazing. Lightroom's basic edits, such as vibrance, clarity, and exposure, look more subtle and natural than those functions in iPhoto and Picasa. Additionally, Lightroom has a host of functions that iPhoto didn't (though it may now, I haven't used it in a couple of years).
With Lightroom, I can now:
-process RAW images
-balance color on two axes: yellow/blue, and green/pink
-make lens profile corrections (undoing distortion caused by lenses, such as making the center of the image look closer than the corners)
-vignette images (darken the corners to bring the focus to the center of the image)
-create radial and graduated filters (to adjust the lighting and other factors in specific areas or sides of the image)
-remove small splatters, spills, and specks with the spot removal function
-paint adjustments on specific areas with the adjustment brush (I will often brush over the main focal point of an image and increase the exposure, clarity, and sharpness to make that part pop.)
-adjust a particular color on the axes of tone, saturation, and luminance (such as bringing out the greens or making the yellows pop)
-get rid of grain and make images easier on the eye by using the luminance smoothing function
The list goes on and on. Long story short, I LOVE Lightroom. Here's an example of two images, before and after editing:
Un-edited RAW file: the image looks flat, dull, and the white balance is off, making the image look too warm and obscuring the greens in the shot |
4. Good lenses
I'd heard from photographers all over that it's a good lens that makes a good image, not the camera, but I never really knew what that meant. One day I headed to the camera store and tested out Canon's lowest-end macro, the 50mm f/2.5, which costs around $300. It was a little bit like driving a Lexus after owning an old Volvo 240. It was solid and serious, smooth to operate, and made my kit lens, the one that came with the camera, seem like a plastic toy in comparison.
This macro lens can get up close and personal, as close as 2 inches from the subject, and it opens up to a fairly wide 2.5 aperture, which allows for sharp images with softly blurred backgrounds. (The f-stop or aperture refers to how wide the "eye" of the lens can open up. Just to be confusing, a smaller number means a wider opening. The kit lens could only open to 5.0 when zoomed in, which is much smaller than the 2.5. For more on aperture, see #11.) It's a prime or fixed lens, which means it can't zoom in or out, rather you have to move the camera closer or further from the subject to change the frame. But this enables the lens parts, including the glass which effects the detail in the image, to be higher quality at a lower price point. (Zoom lenses of the same quality tend to be 3 or 4 times more expensive since they need more parts to allow them to move.)
This is one of the first images I shot with Canon's 50mm f/2.5 macro lens:
Gluten-Free Bourbon Pumpkin Cheesecake Brownies shot with Canon's 50mm f/2.5 macro lens for close detail and maximum bokeh (a.k.a. background blur) |
A year later, a photographer friend loaned me another lens, Canon's 50mm f/1.4, and it got me hooked. The lens made images look soft and dreamy, and the eye of the lens could open up really wide for extreme background blur. Here's one of the first images I shot with that lens:
This lens costs around $400. I had a bit of sticker shock at first, but quickly learned that you get what you pay for when it comes to lenses. The quality of glass is higher in pricier lenses. I won't pretend to understand the mechanics, but I can see a huge difference in the images I shoot with these lenses compared to the kit lens. The lenses also feel higher quality in one's hands and are a pleasure to work with.
This is now the lens that I use exclusively. I find it the easiest to manipulate, and I like the quality and detail that it captures. It's slightly less sharp than the macro, and I like the softness it lends to images. I'll use the macro if I need to get really close to a subject, but this doesn't happen that often anymore now that I'm pulling back from my set-up more.
Next on my list is a 28mm or 35mm which will pull away from the shot, getting more of the setup in the frame, and making top-down shots easier.
5. Books and tutorials on food photography
I've learned so much from these three books, and highly recommend them all:
Plate to Pixel by Helen DuJardin breaks down camera settings, lighting, and food styling in a simple and approachable way. Helene's photography is soft and natural, and she shows you how to take pictures in that style. I highly recommend this book as an accessible starting point for beginning or intermediate food photographers.
Food Photography: From Snapshots to Great Shots, by Nicole S. Young goes a bit more in depth into the technical aspects of food photography. Her style is different from Helene's, perhaps slightly more commercial, and I liked reading about some different techniques and explanations. This is a great second book for intermediate photographers.
Food Photography: Pro Secrets for Styling, Lighting, and Shooting by Lara Ferroni breaks down the basics. Additionally, she discusses the business of food photography including the different jobs of prop stylists, food stylists, photographers, and assistants. (I wish I had read this before taking a styling gig for a professional food photographer – I had no idea what I was supposed to be doing!) This is a great read for those interested in pursuing a carer in food photography.
And a great tutorial that helped me embrace that moody, blue light: Learning your Camera and How to Shoot Moody Images with Peter Georgakopoulos on Gourmand in the Kitchen
6. Getting Props (both literally and figuratively)
While praise is always encouraging, I'm (also!) always on the lookout for interesting kitchen props when I'm out and about. Friends and relatives have even been kind enough to lend me a thing or two when they notice me drooling over an old spoon or napkin. I'll even ask at cafes and restaurants if they'll sell me a glass or piece of silverware if it's one I particularly love. Yes, people think I'm crazy. And they're right.
My very favorite props that I own came from thrift stores, antique shops, and flea markets. These are genuinely old and somewhat one of a kind.
Black Sesame + Milk Chocolate Ice Cream, and some favorite flea market finds |
I like having a variety of plates, bowls, glasses, flatware, and napkins in different shapes, sizes, and colors to play with, and occasionally I'll buy something especially for a certain shot, like this bowl and plate splurge from Heath Ceramics for this ice cream shoot.
Other great resources for props are:
Crate and Barrel
Anthropologie
Etsy (especially handmade pottery, wooden bowls, cake stands, serving boards, and vintage items)
Here's a great post on finding food photography props by Naomi Robinson on Gourmande in the Kitchen.
7. Background check
Over the years, I've collected several different backgrounds to shoot on. They range in color and material, and I can choose which one I want to use depending on the mood, light, and color scheme I'm going for.
I found this nasty old pan in the back of the cupboard. Neither Jay nor I know where it came from, but it's my absolute favorite surface to shoot on. I like the texture it adds, and the cool, charcoal tone that can offset warm-hued foods and make them stand out. A friend once told me they thought it was some sort of exotic marble. Awesome!
I found this little coffee table at Pottery Barn, which I shot on for a while. I like the dark, distressed wood, but it's fairly small and I can't always get the angles I want.
Ah well, at least it makes someone happy.
I found this tutorial from Whipperberry on how to mimic a slate background by simply rubbing black foam board with chalk.
Faux slate background made with chalk and black foam board |
One day, Jay took me out to the woodpile at his parent's house. This may sound like the intro to a creepy, old-time murder ballad, but instead he uncovered some old wood boards from their house renovation. The wood was naturally weathered and stained. With the help of his mom's partner (Latvian waffle master Gunars), we screwed together some slatting to mimic table tops, each one about 3 by 4 feet. One we left bare:
Another I stained dark walnut, rubbed the edges with vaseline, painted over it in antique white satin furniture paint, then sanded off the vaselined bits to reveal dark wood underneath:
The third was the most fun. Inspired by this tutorial on how to make wood look old, and this one on how to make a faux vintage bread board, we torched the whole thing with a blowtorch, then used a rotating steel brush affixed to an electric drill to sand away the burnt bits and reveal the grain of the wood. We took a hammer to the wood to dent it in places, then I rubbed the whole thing with butcher block oil to seal it.
I also have one more background that doubles as a light diffuser:
8. White semi-sheer curtains
When I first started photographing food, I thought it would look best with lots of light, which meant direct light coming through the window.
Mmm, tasty! |
I quickly learned that this was not the case; food shot in direct light generally looks harsh, greasy, and flat (unless you are a pro going for an edgy look and know how to make it work). I switched to shooting in the indirect light also coming through my bare windows, which had a softer look. But I still had some harsh shadows and highlights:
Our ugly aluminum-cased windows had plastic mini blinds from the '80's, which did nothing to help with the light situation (in fact, they barely even went up and down anymore). When we finally invested in some white, linen curtains (from The Company Store), I finally started getting light that I was happy with. The curtains soften the light even further. Since I have a bay window, I get a lot of control over the light that comes through. I can part the curtains on the side or to the back of the set-up if I want stronger light, or pull them all the way closed for a very diffused look. They make a nice background when I want a shot back-lit. Plus, they look nice, and hide the ugly windows. An
all around win. Just say no to ugly '80's blinds.
This diffuse light is as delicate as a Ginger Lemongrass Sake Cocktail |
The lesson I learned is that food tends to look best, counter-intuitively, in fairly low light. This soft light can wrap around a subject, encasing it in a warm glow, evening out the lights and darks to make the image easy on the eye, enhancing the detail in the food so you can see what's going on. Low light means that it's harder to get sharp shots, but using a tripod solves this problem (more on this later). That isn't to say that harder light can't make beautiful food photos, but it's always nice to be able to choose.
9. Playing with light
In addition to softening the light coming through the window, I like to try different directions. Most photos look best with side lighting, or light that comes from behind and to the side. Backlighting can catch the shine on liquids:
enhance texture:
and make drinks pop:
Sometimes I'll block the light coming through the window if I want deeper shadows for more moody shots:
Since I have a bay window, I get multi-directional light by default. But occasionally I'll use a white board to the opposite side of the food to bounce some light back onto it if I want to eliminate heavy shadows. Occasionally, I'll use an actual bounce card to add a highlight to a specific part of the shot if the available light isn't picking up that particular detail.
Remember that blue light I used to hate? After reading the Peter Georgakopoulos tutorial I mentioned above, I've learned to love it. I use darker props and backgrounds, I under-expose the shots, and I leave the camera on automatic white balance which lets the hue stay cool.
Moody Blues and Greens |
10. A tripod (and preferably, a good tripod)
I first got the cheapest, pan-head tripod I could find at my local photo store. I didn't know whether I would like shooting with one, so I figured I'd start with something low-end to test it out. And guess what? I LOVED using a tripod! First of all, my shots were tack-sharp. I hadn't realized how stressful it was to shoot free-hand; I would hold my breath and try not to move a muscle while I pressed the shutter release. Despite this, my shots were sometimes blurry. A tripod took away all of that stress.
Additionally, using a tripod got my camera up and out of the way of the messy food – I wasn't going to drop it in breakfast again. I could also set up a shot, then leave the camera to move things around in the frame, and return to the same frame again with ease.
Thanks to my trusty tripod, these Bergamot Truffles are sharp despite being shot in almost total darkness |
Then my photographer friend Shelley loaned me a good tripod – Manfrotto legs with a grip-action ball head. These legs were so much sturdier and the head was easier to move around and get different angles. Then, thanks to Erin of Naturally Ella, I learned that Manfrotto makes some groovy legs with an articulating arm. This means that the top arm of the tripod folds down to a 90º angle making it easy to get top-down shots. My mind was blown. I needed to give Shelley's back to her, so I found those legs at my local Samy's. (They don't seem to be available online anymore, unfortunately.)
Another tripod bonus was being able to take action shots of my own hands using the 10 second auto-shoot option – no more holding the camera with one hand, or begging Jay to come take a picture of me.
Hand selfie and Bergamot Truffles |
Which leads me to:
11. Accepting the Holy Trinity in my heart: Aperture, Shutter Speed, and ISO
When I first switched to a dSLR, I shot entirely in aperture priority mode, which means setting the aperture (how wide the "eye" of the lens opens up to let in light) and letting the camera figure out which ISO and shutter speeds to use to properly expose the image. At first, I kept it on the widest setting (1.4 or 2.5, depending which lens I was using), which gave me maximum background blur with just a sliver of the image in focus.
Ultra-wide f/1.4 aperture for maximum blur |
After a while, though, I noticed that, while some shots looked nice this way, others just looked out of focus and difficult to view. Lately I've been scaling back my aperture to a smaller 3.5 for straight ahead shots and 5.0 for top-down shots, and am liking the versatility it gives me.
Sharper cookies with a smaller (f/3.5) aperture |
Shooting in aperture priority helped me begin to understand how the other two settings, ISO and shutter speed, worked with aperture to expose the image properly.
Shutter speed refers to how long the eye of the camera stays open. I still don't understand the mechanics of ISO, but it too influences how much light enters the camera, and that I can explain. When I use a tripod with average light, I usually keep my ISO at a low 200, or 100 if the light is brighter than usual. This creates smooth images, though it means that the shutter speed has to compensate by staying open longer – not a problem with a still image and a tripod. If I shoot free-hand in low light, or if I want to freeze the action in an image, I'll bump up the ISO to a high 1600 so that the shutter speed can be faster and give a sharp image with frozen action. The high ISO creates a grainier image, but that's fixable in Lightroom using the luminance smoothing function.
A wide aperture, high ISO and fast shutter speed freeze the action |
After shooting in aperture mode for a time, I eventually got annoyed when my camera would try to help me
out by adjusting the exposure. Now I shoot in full manual because I like being a control freak when it comes to my camera.
12. Time, practice, and a dedicated personal assistant
Two years ago, I found myself in dire need of leaving my pastry chef job. I was looking for another job, the most promising of which paid little more than minimum wage, was a 45 minute commute each way, and necessitated working every weekend for the forseeable future. And this was after having completed pastry school and worked in the industry for nearly a decade. That is the harsh reality of working in a kitchen in San Francisco. It was all rather depressing. Jay said, "Just take a few months off to focus on your blog and photography." What a nice guy, right? This afforded me more time for goofing off working really hard at my art. Instead of trying to squeeze in a shoot before or after work, I could plan my day around when I liked the light best in our apartment.
I take hundreds of shots of each finished dish that goes up on this site. I know the pros get this done much faster than I can, but it takes me that long to get something I'm happy with; or not, and I'll do a re-shoot. I've learned to leave a good 1-2 hours to shoot the final shots of a dish (yes, I'm really that slow).
Luckily, I have a very helpful personal assistant:
I'm sure I'll look back at these photos in a year or two and cringe, but I'm glad for everything I've learned so far and look forward to continuing the process. For now, all of my favorite images are gathered in my ever-evolving portfolio.
Now, if only I could figure out how to take good pictures on my iPhone...
Got any favorite tips, tricks, or resources for getting great food photos? I want to hear about it in the comments!
Check Out
- California Food Photography Workshop: Sebastopol {recap}
- California Food Photography Workshop
- Upcoming Food Photography and Food Styling Workshops
Thanks for reading! For more Bojon Gourmet in your life, follow me on Facebook, Twitter, Bloglovin', Pinterest, or Instagram, or subscribe to receive posts via email.
Deb Attinella {CookingOnTheFrontBurner} says
This is by far one of the best articles I have run across and your photography is awesome. I've had lightroom installed since March but haven't tried it yet... I definitely need to get on that! I'll definitely check out the tutorials you mention and have pinned this article for future reference. If I have a question, I hope you don't mind if I come back :)
Alanna says
Thanks for reading, Deb - I'm so glad you found this helpful! I'll be so happy to answer any questions that arise. :)
Andrea Giang says
Thank you so much for posting this! I just started using DSLR and this has helped me understand the difference so much better! Thanks again!
felicia | Dish by Dish says
Alana, this is such a wonderful and visual guide on food photography! Truly inspired. Especially seeing the improvement in your photography over the years (gives me hope that perhaps one day I can shoot photos like yours!)
Hi from a new fan in Buenos Aires!
Ashlae says
I only recently started shooting in raw (as in, two posts ago), and am borderline embarrassed that it took me so long to make the transition from the dark side. Also, I'm happy to know I'm not the only one who takes hundreds of shots.. ;) Loved this post, lady!
Alanna says
Well whatever you've been doing was working - your shots blow me away!!
Simi J says
I found this post so informative and soooo much to learn from you. Thank you, for sharing all this. You are so modest, and talented. Very creative, and one can never really learn that.
Alanna says
Ah, thank you!! I had such fun writing this post and really appreciate the great feedback. :)
Victoria says
This is such a helpful review! Thank you!!!
Alanna says
You bet!
Tori says
This post was amazing, SUPER helpful! I'm counting the days to my first paycheck so I can get myself a dSLR camera and this just made me so excited to finally start shootings some good pictures!!
Alanna says
Aw, thanks Tori! So excited for you!
Josefine says
Thank you so much for an icredibly useful post! I especially liked the tip about lenses. I am currently looking for a new lens and I've settled on a prime f/1.4 or f/1.8 - but I don't know whether to get a 50mm or a 35mm. May I ask what you would recommend? I take food photos like you, but I'd like to be able to use it for everyday photography too :)
Thanks again! And thanks for running an amazing blog!
Alanna says
You're so welcome, I'm glad it was helpful! Well it depends a bit on whether you have a crop frame or full frame sensor, and how close you like to be to the food you shoot, but either way I'd probs go with the 50mm. The 35 will feel far away in the frame and you won't get as much lens compression or background blur. I do have a 28mm lens for taking overhead, full-table shots, but 99% of the time I use my 50. I just upgraded to a full-frame body and now I'm wanting a lens that gets even closer to the food, an 85 or 100. You could always rent a couple to try out, too. Hope that helps! (I checked out your blog and the pics, props, styling are all gorgeous! Kudos lady!)
Sandhya Hariharan says
Hi Alanna , You have a wonderful space . And I was introduced to your space by Dolphia,only a few days ago. Its a shame ,I have missed . This post is just incredible. I have only recently upgraded to a 50mm f1.4mm lens and in total love after f1.8mm.
When you do shoots for clients, do you just use your 1.4 mm lens or do you also use a 100 mm macro lens. Any input will be helpful.
Thanks again !
I blog at Sandhya's Kitchen. Do drop by whenever you get a chance..
Alanna says
Hi Sandhya! Thank you for stopping by and for the kind words - can't wait to to check out your space as well.
I usually use the 1.4mm but the 100 macro is next on my list! I recently upgraded to the Mark III so that changes things, too.
Frances says
Alanna, these are really excellent tips. The photographs are amazing as well. Thank you for sharing them! I think I'm at that weird stage where blue tint just makes me uneasy and I haven't really learned how to make it work yet. Also in the process of creating a wood backdrop myself with a couple of floorboard panels I got from the local hardware store. I'm going to check out those books that you've mentioned. Wish me luck!
Jay Doane says
So glad this was helpful! Good luck with the backdrop and the blue. :)
janina says
Your photos are amazing. I love them. Your post is so helpful and written in a lovely style. Thank you so much for posting! :-)
Erin Fesperman says
Of all the tutorials I have read for food styling, this one is by far my favorite. It is so well written and easy to understand. Thank you for taking the time to write it and if I decide (meaning when I save up enough money) to purchase any of the items you mentioned, Ill be sure to use your links. :)
Brian Upton says
This is great stuff. Makes food photography seem more achievable after reading this. Thanks!!
Karene says
Wonderful post, written so straightforward and honestly. Your explanation of RAW is the best I've read. Got the Plate &Pixel, but I'm definitely going to look at some of your other suggestions, especially the tutorial on blue light. Your photography is gorgeous! I'm feeling all inspired now!
Debra | The Saffron Girl says
What a wonderful and honest post Alanna. I've been blogging for about two years and I'm still struggling with the photography, props, lighting, angles, etc. It's a growing process as you've shown, just as much as the writing and recipe making are as well. Your recommendations and tips are very useful! I cannot wait to start putting this into practice. Thank you. Debra xx
Susan Knaap says
Wow! Thanks so much for your hugely inspirational post - love your generosity of spirit! I can't believe you use a T2i - that's what I have (for budget reasons) and I've always felt I'm probably missing out on getting really great photos, but you've proved otherwise and have inspired me to keep getting the most out of my camera. PS: I have the 50mm 1.8, though I now predominantly use the well reviewed Sigma 30mm 1.4 ART lens to help give me wider compositions. Thanks again - I've bookmarked your post for dipping in and out whenever I need a boost!
Anu says
I've been blogging for a little over a year now with a friend giving me a tutorial in photography. I must say that yours is the first article on food photography that I actually understood fully! Thanks!
Willow | Will Cook For Friends says
This post is amazing, Alanna! I can't believe I'm just seeing it now for the first time. You are so thorough, and every single point you made is spot-on. I must say, though, your older photos are nothing to be ashamed of! When I started out (with a dslr, not even a point and shoot) my images were... how shall I put this... NOT appetizing. Your tips would have helped me so much, and even now they are valuable reminders and inspiration to keep getting better at this crazy craft. I really do think photography is a journey we are always on, and there is no "end destination". We will always get better and grow, and we will always be able to look back on where we were a year, or two, or five ago and think "wow, look how far I've come!".
That said, your photography now is absolutely stunning, and I'm constantly inspired by it. Thank you for sharing so much wisdom!
Silvia P says
Some great tips I can't wait to put in practice! Lovely images to accompany the article. Love seeing the development throughout.
Amanda Logan says
I am very late to the party but I wanted to thank you for this post and the links. I am new to photography and food blogging but I have already noticed a HUGE difference after pouring over this post. Thank you for your wonderful tips and links.
Anja Burgar says
Beautiful post, especially showing your old photos and explaining what's wrong with them and how to fix it. What I struggle with is taking selfies. Although I have a tripod, it is very difficult to get my hands sharp, so I've been avoiding this kind of photos. Do you have any advice on how to get them not looking all blurry?
Alanna says
Hi Anja! Thanks so much for reading and for the nice note. I've been meaning to write a post on how to take food photography action shots, so thanks for the kick in the pants! If you're having trouble getting the camera to focus on the right spot, i.e. your hands, here's what I do: focus the camera on something in the shot that will be in the same plane as your hands. Then when you put your hands in, the camera will already by focused there. If the problem is freezing the action, then it's all about your camera settings: in manual mode, first set your shutter speed to 1/1000 or faster, then set the ISO and aperture to compensate. Depending on how much light you have available, you'll likely need a high ISO (around 800 or 1600) and a wide aperture (around f/2.0). You'll want to reduce noise in Lightroom since the high ISO will make a grainy photo. The point of all this is to get a fast shutter speed that will freeze the action. Hope that makes sense and is helpful! LMK if you have more questions - happy to answer 'em! :)
Sonya says
You don't know how much I needed this! Thank you :) I'm switching from iPhone to a DSLR setup and this was so educational and helpful for me.
Alanna says
I'm so glad it was helpful - thanks a bunch for the note and have so much fun with your new setup!
Sierra says
I am bookmarking this because it's fantastic! First of all, your images are absolutely stunning - keep doing what you do! Second of all, thank you so incredibly much for putting so much detail into every aspect of food photography, cameras, equipment, lighting, all of it. Seriously, thank you so kindly!
Alanna says
Aw! Thanks for the kind words, Sierra - you're very welcome!
Kaleigh @Lively Table says
These are really helpful tips! I've been trying to figure out what I need to sdo differently (besides practice!) and your article with all of the examples is super helpful. I'm dreading having to buy a Manfrotto tripod, but I think I'll just bite the bullet and do it. Thanks for all of the great info!
Anila says
If the background and lighting are good enough then its possible to avoid the post processing task in many ways! For editing the photos I would prefer to use Photoshop unlike you. Is there any reason behind using lightroom instead of Photoshop for editing the shots?
Fran @ G'day Souffle' says
I'm so glad you said you take hundreds of shots for each dish that you photograph- I am also slow (and get exhausted after shooting)!
Jennifer Landsberger says
I'm learning and slowly getting better. While the entire article was fabulous, I cannot thank you enough for the link on how to make a chalkboard background.
I asked my brother-in-law (who does theater at Vanderbilt) and he kept saying, polish wood, do this with paint, then do that with paint. And I was sitting here thinking "um, what kind of paint did you say?"
Anyway, THANK YOU.
Annice MacLeod says
I have read hundreds of posts on food photography but what I really liked about this one was our tone and informative message You have a natural affinity with your reader. That is a gift.
Kylie says
This is the first time I've visited your blog and after reading this post, I'm entirely smitten!
I've only recently started my food photography journey (1 year) and I have days where I'm pleased with my work and others where I want to remove all my previous posts in embarrassment! After reading this, I've come to really love that you have recorded your photography journey! It's made me realise I need to be more patient with my own development.
Thank you for sharing such a beautiful post and a little peak at your photography progress! I'm looking forward to devouring more of your posts! :-) xxx
Alanna says
Thanks so much for reading and for the kind note! I have a fond nostalgia looking at my old posts, so I've left every one up, but I totally feel you. We are our own worst critics. Your photos are GORGEOUS so keep doing what you're doing! -A
Mohamed Abdel-Hady says
Amazing post and great info
I fell in love with that image of the 2 green juice glasses, may I wonder how that particular image was lit please, I fell in love with that lighting
nita says
These are some EXTREMELY helpful tips! I've been frustrated with my picture taking abilities lately because I can't get the image the way I want it to look after just a few snaps. It's a relief to hear that you can spend up to 1-2 hours of photographing to get the image you're happy with! I have started shooting in raw recently and wish that I had started doing it sooner! I will defintely be practicing some of your tips and hope that my images will improve. Thank you for generously sharing your wisdom :)
Alanna says
Yes, I'm so slow, haha! So glad you found this post helpful. Cheers to you on your photography journey! :)
Charles Clinton Rodrigues says
useful tutorial..and i just love every picture of this article!! thanks mate.
John Denver says
Wow! Amazing tutorial. Really very helpful.
annie says
This list is so great! I think I will read it over and over So many valuable tips thank you for gathering all this information in just one post .I am close to giving up food photography but then you made me realize that creativity is an evolving discipline. Thank you so much.
Ryan Photography says
Great post. I will definitely come back to read it again and try out our tips and check on the helpful links you provided. Thank you so much for sharing your food photography tips.
Joseph B. Pumphrey says
Food is really needed for many people. I love eating food.
Yousuf Ahmed says
Thanks once again for posting!
The Bojon Gourmet says
No problem Yousuf! I hope it helps your photography.
Kathleen says
Alanna,
Thanks so much for keeping all the old photos up on your blog. Sometimes when I'm feeling frustrated about the speed of my own progress, I come visit the way back photos your site and remind myself that even the best photographers had to follow the same path. It's always a joy to see what you are creating.
Kathleen
Alanna says
Aw what a sweet thing to say! I'm obsessed with your photos so it's hard to imagine you feeling frustrated with your work! We creatives are all so hard on ourselves, aren't we? Keep up the amazing work and please let me know if you ever come through San Francisco. <3
liev cruz says
I'm glad you can achieve these awesome shots with the use of the available resources around and your creativity. I wonder what software or app you use for photo editing.
Alanna says
Lightroom! :)
Elizabeth Ward says
Thank you! What a great article that answered so many of my questions. You're a great writer, chef, and photographer!
Renee says
Hi. I've enjoyed learning from you. I wanted to comment on the expression, "getting props." They're both literal. Props, in the two definitions that you're using them, are homonyms --- same spelling or pronunciation but different meanings and origins. Both are literal. No figurative. Your post helped me, just wanted to be useful as well.
Deborah Dal Fovo says
Just discovered you now...better late than never. Love your photos, dishes, and this very informative post about food photography. I am a chef who does her own photography and also fell in love with the Canon 50mm 2.8 lens. But, unlike you, I'm a bit lazy and need to up my game. Will take your suggestions and take it to the next level. Grazie mille!
Alanna says
Aw thank you for the sweet words, and good luck on your food photography quest!
Judith Takens says
wow, quite an extensive and clear instruction. Very helpfull and I can't wait to get on your level of photograpy (in a few years...).
Kelly O says
Just refound this post as I venture into photographing my own crafted products (not food). Thanks for the inspiration; your photos are gorgeous!
Alanna Taylor-Tobin says
Hello friend! A belated thank you for reading this post and for the kind words. I want to hear more about your new venture!
Kim says
I love reading your blog Alanna! I'm on your site at least once a month - usually on Sundays - when I'm looking to make something delicious for breakfast with my new hubby. We are both artists and learning the ins and outs of selling our art online, so I TRULY appreciate this post. You've made me understand that I need to, can and WILL get out my big scary camera and learn how to use it properly to take great images for my website. Thanks so much for your delicious recipes and for all the time and love you put into this blog. Now off to make your spinach quiche! Kim
Alanna Taylor-Tobin says
Awww this makes me so happy to hear! I'm glad this post is inspiring and useful. I really feel you on learning to use a new gadget, it can be quite intimidating. (This is me needing to learn video editing software, eek!)
My family just gifted my artist sister-in-law a nice camera to capture her art with too. It's fine to start in fully automatic mode and let the camera choose the settings for you! That's how I started. :)
Please let me know how it goes or if I can help in any way!