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Food Photography & Lighting: A Commercial Photographer’s Guide

40 Pages · 2012 · 8.86 MB · English

  • Food Photography & Lighting: A Commercial Photographer’s Guide

    FOODPHOTOGRAPHY


    & LIGHTING


    A Commercial Photographer's Guide


    to Creating Irresistible Images


    TERI CAMPBELL


    ^HiiBi


    mm Food Photography & Lighting:


    A Commercial Photographer’s Guide to Creating Irresistible Images


    Teri Campbell


    New Riders


    1249 Eighth Street


    Berkeley, CA 94710


    Find us on the Web at www.newriders.com


    To report errors, please send a note to [email protected]


    New Riders is an imprint of Peachpit, a division of Pearson Education.


    Copyright © 2013 by Teri Campbell


    Senior Editor: Susan Rimerman


    Copy Editor/Proofreader: Elaine Merrill


    Indexer: Karin Arrigoni


    Production Editor: Katerina Malone


    Composition: Danielle Foster


    Cover Design: Aren Straiger


    Interior Design: Claudia Smelser


    Cover Photograph: Teri Campbell


    Cover Photograph Stylist: Ken Smith


    Notice of Rights


    All rights reserved. No part of this book may be reproduced or transmit-


    ted in any form by any means, electronic, mechanical, photocopying,


    recording, or otherwise, without the prior written permission of the pub-


    lisher. For information on getting permission for reprints and excerpts,


    contact [email protected]


    Notice of Liability


    The information in this book is distributed on an “As Is” basis, without


    warranty. While every precaution has been taken in the preparation of


    the book, neither the author nor Peachpit shall have any liability to any


    person or entity with respect to any loss or damage caused or alleged to


    be caused directly or indirectly by the instructions contained in this book


    or by the computer software and hardware products described in it.


    Trademarks


    Many of the designations used by manufacturers and sellers to distin-


    guish their products are claimed as trademarks. Where those designa-


    tions appear in this book, and Peachpit was aware of a trademark claim,


    the designations appear as requested by the owner of the trademark. All


    other product names and services identified throughout this book are


    used in editorial fashion only and for the benefit of such companies with


    no intention of infringement of the trademark. No such use, or the use of


    any trade name, is intended to convey endorsement or other affiliation


    with this book.


    ISBN-10: 0-321-84073-9


    ISBN-13: 978-0-321-84073-8


    9 8 7 6 5 4 3 2 1


    Printed and bound in the United States of America To Susie.


    Without your encouragement and support


    I would never have been able to live my dream. ACKNoWlEDgMENTS


    First, I would like to thank God for allowing me to share in His creation through


    His gift of art, and for the faith I have in Him—without which, I would never have


    been able to complete this project.


    My studio team members were instrumental in the production of this book—


    Sherry Wilson, Scott Martin, and Sarah Haun. Sherry’s involvement throughout


    this project and her willingness to help in any way was critical to the smooth


    process of writing and selecting images. Scott handles all of our post-production


    and helped to organize and prepare the image files along with providing techni-


    cal support. Sarah contributed the chalkboard lighting diagrams and many of the


    behind-the-scenes shots in this book.


    The love of my family has also been invaluable during this process. My son Eli will


    remember the lost summer when Dad finished his book. And without the love and


    encouragement of my wife Susie, I may never have accepted the challenge to


    begin with.


    Early in my career, I was encouraged by many people, but certainly Bob Kuhns,


    who was not only my boss at Procter & Gamble, but my mentor, cheerleader, and


    friend. Don Brooks was another leader at P&G who greatly affected the trajectory


    of my career. And Jim Parks—even thought I spent less than a year assisting him,


    his influence on my work and business philosophy was long lasting. I would also like to express my gratitude to Rick Murphy, for believing in me and


    supporting me during those early years. And Bob Hart, who took me under his


    wing, always told it to me straight, and gave me good advice.


    And I need to thank all of the people who I collaborated with in creating the


    images you see in this book—stylists, art directors, assistants, producers, art buy-


    ers, friends, and clients. It is not just my talents that are expressed in this book,


    but those of many talented co-creators. Thank you all.


    In addition I would like to thank the entire team at Peachpit Press/New Riders and


    especially our editor, Susan Rimerman, who has been so supportive and patient


    throughout this process. Without her willingness to step in and guide us, we


    would have never made it out of the forest.


    And I can’t end without thanking my Mom. She was my first assistant, and later


    my bookkeeper, receptionist, delivery service, food stylist, and “Studio Mom” for


    nearly 20 years before she retired. Thanks, Mom. TABlE oF CoNTENTS


    IntroductIon Food and Me x


    Part 1


    1 What Makes Shooting Food so Difficult 3


    Creating Images That Are Irresistible . . . . . . . . . . . . . . 4


    Other Considerations . . . . . . . . . . . . . . . . . . . . 9


    Current Conditions of Commercial Food Photography . . . . . . 10


    2 The Space 13


    My First Real Studio at Longworth Hall . . . . . . . . . . . . . 15


    Our Studio Today at Central Parkway . . . . . . . . . . . . . 18


    I Love This Studio! . . . . . . . . . . . . . . . . . . . . . 30


    Starting Over . . . . . . . . . . . . . . . . . . . . . . . 31


    3 The Tools 33


    The Right Camera . . . . . . . . . . . . . . . . . . . . . 34


    Lens Choice . . . . . . . . . . . . . . . . . . . . . . . 36


    The Workstation . . . . . . . . . . . . . . . . . . . . . 37


    Lights and Light Modifiers . . . . . . . . . . . . . . . . . . 41


    Tripods and Studio Stands . . . . . . . . . . . . . . . . . 47


    Taking Care of Business . . . . . . . . . . . . . . . . . . . 48


    Tools for a Digital Artist . . . . . . . . . . . . . . . . . . . 49 4 The People and Their Roles 55


    Home Team . . . . . . . . . . . . . . . . . . . . . . . 56


    Visiting Team . . . . . . . . . . . . . . . . . . . . . . . 66


    You Are Here . . . . . . . . . . . . . . . . . . . . . . . 72


    5 The Process 75


    The Job Begins with an Estimate . . . . . . . . . . . . . . . 76


    A Final Thought About Estimates . . . . . . . . . . . . . . . 82


    Confirmation . . . . . . . . . . . . . . . . . . . . . . . 84


    Pre-Production Planning . . . . . . . . . . . . . . . . . . 85


    The Day of the Shoot . . . . . . . . . . . . . . . . . . . 88


    Post-Production . . . . . . . . . . . . . . . . . . . . . . 95


    The Job Ends with an Invoice . . . . . . . . . . . . . . . . 97


    6 Marketing and Business Considerations 99


    Getting Started . . . . . . . . . . . . . . . . . . . . . . 100


    Building a Portfolio . . . . . . . . . . . . . . . . . . . . 102


    Marketing Your Business . . . . . . . . . . . . . . . . . . 103


    Advertising . . . . . . . . . . . . . . . . . . . . . . . 108


    Hiring Representation . . . . . . . . . . . . . . . . . . . 112


    Customized Promotions . . . . . . . . . . . . . . . . . . 114


    Part 2


    one Shrimp Creole, Po-Boys, and Beignets 125


    The Big Easy


    Preparations for the Shoot . . . . . . . . . . . . . . . . . 126


    Palace Café . . . . . . . . . . . . . . . . . . . . . . . 126


    Parkway Bakery . . . . . . . . . . . . . . . . . . . . . . 129


    Café Du Monde . . . . . . . . . . . . . . . . . . . . . . 132


    Image Post-Production . . . . . . . . . . . . . . . . . . . 136


    New Orleans Redux . . . . . . . . . . . . . . . . . . . . 136


    two Ice Cream Scoops and Shakes 139


    Ice Cream Headaches


    Ice Cream Scoops . . . . . . . . . . . . . . . . . . . . . 140


    More Scoops . . . . . . . . . . . . . . . . . . . . . . . 144 Is That Legal? . . . . . . . . . . . . . . . . . . . . . . 146


    Shake It Up . . . . . . . . . . . . . . . . . . . . . . . 151


    Final Thoughts on Ice Cream . . . . . . . . . . . . . . . . 153


    three Would You Like a Drink with That? 155


    Liquid Pours & Splashes


    Get Your Ice Cold Drinks Here! . . . . . . . . . . . . . . . . 156


    Coca-Cola . . . . . . . . . . . . . . . . . . . . . . . . 158


    Silk Milk . . . . . . . . . . . . . . . . . . . . . . . . 161


    Spilled Milk . . . . . . . . . . . . . . . . . . . . . . . 166


    four Pizza, Stromboli, and Pizza Pulls 169


    In the Brick Oven


    Via Vite Ristorante . . . . . . . . . . . . . . . . . . . . 170


    Donatos Pizza . . . . . . . . . . . . . . . . . . . . . . 171


    Stromboli . . . . . . . . . . . . . . . . . . . . . . . . 174


    What Is a Pizza Pull? . . . . . . . . . . . . . . . . . . . . 176


    Carino’s Italian . . . . . . . . . . . . . . . . . . . . . . 179


    The Pull of Cheese . . . . . . . . . . . . . . . . . . . . 183


    fIve Looks Like Daylight 185


    Natural Light with Flash


    Breakfast Cereal . . . . . . . . . . . . . . . . . . . . . 186


    My Front Door . . . . . . . . . . . . . . . . . . . . . . 190


    Wheat Field . . . . . . . . . . . . . . . . . . . . . . . 193


    Pasta and Clams . . . . . . . . . . . . . . . . . . . . . 194


    Get Out There . . . . . . . . . . . . . . . . . . . . . . 197


    sIx Chocolate, Candy, and Cookies 199


    At the Bakery


    After-Hours with Chocolate . . . . . . . . . . . . . . . . . 200


    Like a Box of Chocolates . . . . . . . . . . . . . . . . . . 202


    Powdered Donuts . . . . . . . . . . . . . . . . . . . . . 206


    Edible Arts and Crafts . . . . . . . . . . . . . . . . . . . 208


    Waffles to Macaroons . . . . . . . . . . . . . . . . . . . 210


    Final Thoughts on Sweets . . . . . . . . . . . . . . . . . 211 seven Burgers and Fries 213


    An American Classic


    How a Product Rollout Works 214


    Summer Daze 216


    The Big Burger 219


    Waffle Fries 223


    Chicken, Not a Burger 226


    Take Out 227


    eight Shooting Food for Packaging 229


    In the Supermarket Aisles


    Pringles Potato Crisps 230


    Bush’s Beans 233


    Chocolate Chip Cookies 240


    Self-Checkout 245


    nine Courting Fried Chicken and Potato Wedges 247


    With Colonel Sanders


    A New Look 249


    The Beginning 249


    Potato Wedges 252


    The Famous Bowl 255


    Dessert, Anyone? 257


    Our First Anniversary 260


    Index 262


    Bonus Chapters


    ten Honey, Tea, and Bourbon 10-1


    More Pours and Splashes


    eLeven Steak and Potatoes on the Grill 11-1


    Playing with Fire


    tWeLve Airheads, Hush Puppies, and Coffee 12-1


    Post-Production Saves the Day



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