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Salad at very high ISO of The digital noise looks like dust particles at this point. Finding Balance Now you know the big three elements making up your exposure. So keep in mind that it takes a practice to make them work together to generate the kind of images you envision. It does not have to be in your kitchen. I started on the living room coffee table next to the largest window in my house.
It can be any place you choose. See how they work together and against each other. For instance, note when one setting affects one component but not all. Just try. Try again. Metering refers to the way a camera measures the brightness of the subject to be photographed in order to determine the appropriate exposure.
Only a small area of the frame is metered. This type of metering is especially helpful with backlit subjects, because it lets you measure the light bouncing off the center of the subject and expose appropriately for that area instead of the brighter light in the background.
Photographers doing a lot of close-up shots of food will also appreciate being able to measure the light at the center and in a small area of the frame, and meter appropriately for the capture. This setting gives priority to the center portion of the frame though, which works great for still-life pictures and portraits. The camera measures the light in several areas of the frame and then analyzes this data to calculate with algorithms proprietary to each manufacturer the best exposure for the circumstance.
While setting your exposure, metering is an added tool that gives you even greater control. This is always a good thing to know when you are having problems with exposure and need to try a couple of different settings.
White Balance As the quality of light changes through the course of a day and in different lighting conditions, your White Balance setting will need to be adjusted in order to accommodate changes in the color casts of whites and neutral tones throughout a scene.
Adjusting the White Balance setting is necessary so that the colors in your picture are represented as close as possible to real life colors, where whites are neutral white—and all the other colors are balanced to reflect the ones you see in a scene with your naked eye. Make this adjustment when you set up your exposure. Everything has an orange cast to it. This happens because different light sources have different color temperatures, which are measured using the Kelvin scale.
If your camera offers a Kelvin reading to adjust your white balance, it might be a good idea to get familiar with it, especially in post processing. Instead, it has different modes available for you to adjust the white balance. Since all camera brands and models are created differently, read through your manual to get familiar with the White Balance settings that your camera offers.
Most digital cameras offer a preset of White Balance modes—including Daylight, Cloudy, Tungsten, Auto—as well as a custom function that offers yet another level of control by enabling you to set the white balance manually. Your camera may have more or fewer options, or it might name the options differently, than the ones described below; but these are the most common White Balance modes: The camera will meter the light and adjust the white balance.
This setting works in many situations, but it can be too restrictive for some shots. This setting offers a nice warm touch to a daylight setting. I find it particularly helpful when I shoot late Fall and early Winter afternoons. It tones down some of the silver cast of items that would benefit from a warm touch, such as breads, cakes, fruits, etc.
I use this setting when shooting indoors and with incandescent bulb lighting, such as in restaurants. This mode cools down the colors nicely. This mode is similar to Cloudy on most cameras, and it offers the same warm touch. You essentially give your camera a reading of what whites should look like, and your camera takes it as a reference point to adjust the surrounding colors.
Schedule Time to Practice Settings As with any photo situation that involves camera setup, your results are much more likely to be positive if you first assess what you are going to do, what you want to convey and how much time you have to do it. Consider establishing a schedule for exploring the different settings: Monday might be your minute shooting session, while Thursday might be an entire day off dedicated to shooting multiple recipes.
Who knows? The only wrong way to photograph is to not use your camera. Be sure that the white object covers the entire frame of your camera. If you are really into custom white balance, there are several products available to pros that are not outrageously expensive or overly complicated to use.
Check out Digital Calibration Target or Expodiscs. See Resources in appendices for website addresses. You can also use grey cards in post production. If one image is shot with the grey card in it and one is shot without it, the adjustments can be made as you process and compare the two versions. You can adjust and re-adjust at will in post production. But the beauty of getting the shot set correctly before you press the shutter button is more time to photograph—and do other stuff you enjoy.
Minimizing time in front of a computer to fix images means more time to cook and shoot new images and hang out with friends and family. Achieving out-of-the-camera accuracy is more likely if you shoot a scene within a short period of time.
This is a great situation if you have a block of time set up for your photography, but not so great if you are trying to shoot your eggplant parmesan before dinner and before it gets completely cold.
Camera Modes Photographers can be pretty adamant about the camera modes they favor. Discussions among photographers often resemble the banter of chefs postulating on their preferred cookware. So how do you decide which one to pick?
But that would be short changing you. Each camera mode has its purpose—and pros and cons—that has very little to do with preference. So while Auto mode can be very helpful in some cases, using it means that the camera makes all the decisions for you … aperture, shutter speed, light metering—everything! And relying on your camera to make all these important adjustments can only take you so far. So be the boss of your camera. When you challenge yourself to interpret a scene and respond to it, your creativity will soar.
You have to learn Manual. These components are constant. I personally consider Manual mode my safety spot. When you increase one, you have to decrease the other to keep the same exposure. It works the opposite way to achieve deep depth of field. In this case, you need to play opposite scales … between the shutter speed and aperture … to keep getting the correct exposure.
To capture flow, or show motion, please refer to the Shutter Priority section further below. Manual does not have many downsides, but it does require a full understanding of exposure and the relationship between depth of field aperture and time.
Manual would make it tricky to catch all the shots in a quick-changing situation. Aperture Priority One primary difference between Manual and Aperture Priority modes is that the latter automatically adjust the shutter speed after you select the aperture and ISO. This makes it a bit easier than when in Manual to set your exposure properly.
Notice in the set of images on the left—each photograph was shot at a different aperture—how much or how little is in focus depending on the camera setting.
Using different degrees of shallow depth of field can be useful in telling a story through composition and styling. See Chapters to find more information on Composition and Styling.
Try placing the main dish in focus and blurring out other servings, props and ingredients to help convey a certain mood. This shot of a basket of pears was taken at a shallow depth of field. Take this scenario: I am exaggerating slightly, but you get the idea. I know that a lot of food photographers aim for shallow depth of field, but it is far more likely that a reader will get excited about a pie if s he can see at least half a slice in focus versus only the tip of the crust.
Another thing to keep in mind when shooting in Aperture Priority mode is how to use the exposure compensation button EV or Exposure Value button on your camera.
Since being in this mode necessarily means you are not in Manual—and thus cannot adjust the shutter speed to give you proper exposure —learning how to turn exposure up or down can really help. Just remember, depending on your camera brand and model, the exposure compensation button might have a different icon or increment scale.
So how do you choose the right aperture and focus point to get the depth of field you want? It really depends on what part of the dish you want to feature. Is it the whole plate, the whole table, or maybe just the tomato perched on top of a salad? Ask yourself what you are trying to say with your image and how much you want to reveal … versus suggest.
Practice to see which setting works best for you. One last thing to consider when shooting in Aperture Priority mode is its limitations when trying to capture the movement of liquids … or ingredients splashing into liquids.
This mode does not focus on time, like Shutter Priority mode described below does. Shutter Priority As with Aperture mode, shooting in Shutter Priority mode lets the camera do part of the job to achieve a balanced exposure. If your exposure is good to start with, setting the aperture compensation button at -2 generates a very under-exposed dark picture.
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If your exposure is good to begin with, bumping the aperture compensation button by one will give you a slightly overexposed picture. If your exposure is good to begin with, setting the aperture compensation button at -1 will give you a slightly underexposed picture. When your exposure is good to begin with, bumping the aperture compensation button by two will create a very overexposed picture.
When your exposure is good to begin with, you do not need to use the aperture compensation button. In the photo series of strawberries under water, see how the decreased shutter speed gives the water flowing out of the faucet a very soft, almost cotton-looking quality. But by using a faster shutter speed, you can freeze the movement of the water. Notice the bubbles and ripples that are created as the water hits the berries and flows out of the bowl. That said, the ability to capture movement is not the only benefit of the Shutter Priority mode.
This mode also allows for deep depth of field to be achieved through small apertures and long exposures slow shutter speeds. It can be extremely helpful when shooting in natural light, in situations where very little actual light is available.
As you can see, there is not one right way to shoot … or even a best way to get the shot you need. Shutter speed of 5. Chapter Three: Natural Light Photography When I first started taking pictures for my food blog, I thought that all light—in whatever shape or form it came—was good light. How could it not be good for my purpose? Yes, I am primarily a natural-light photographer. I had very little photo equipment when I began photographing food.
I started much like most other novice food photographers. That is, I was taking pictures in the kitchen and quickly realizing that the yellow light in that space was not ideal. And even with white balance manipulations—See Chapter 2 Camera Settings and Modes for more on setting your white balance—my photographs moved up to okay.
So I moved to the coffee table that was positioned right in the middle of the living room, between two windows. In the southeast region of the United States, where I currently reside, good weather and lots of sunshine prevail over rain and dark days.
So I take full advantage of this good photo lighting throughout the year. Bright, clean and crisp skies are perfect for capturing soft-lit frames and setups for food—with the proper preparation, of course, which is described later in this chapter.
These days allow me to exercise my creativity in different ways. The lack of natural light during bad weather produces dramatic shadows and strong silver highlights, which impose a different set of challenges and decisions from the photographer, as we will explore in this chapter.
So I now carry an artificial light kit in case I find myself on a job at a time when the weather and bright skies are not cooperating. No, you need to get it done—correctly and on time … even if it means resorting to a light kit. So I suggest that you try using the settings on your camera e.
Hard Light vs. Soft Light Both hard light and soft light refer to the quality of the luminescence of your scene, and each has its purpose in photography. Conversely, indirect or diffused scattered light is an example of soft light.
One is not universally better than the other; yet one will be more appropriate than the other for a given image, based solely on the artistic effect you wish to achieve.
What is the story or mood you wish to convey with your photograph? Hard Light Hard light is stronger than soft light, and it illuminates your subject in a direct way that accentuates shadows and contrasts. Hard light can help you create dramatic effects, such as sharp highlights in the background or glossy casts on liquid surfaces. In the picture of carrots, I did not diffuse or bounce the light coming from the back of the setup.
This allowed a lot of contrast in the scene, which accentuated the colors and shapes of the carrots against the dark surface on. The hard light also added highlights to the tiny water beads, which would have been lost in a softer light situation.
Keeping the water visible conveys that the carrots were fresh from the field! These carrots were photographed in hard light to render their vivid colors. Soft Light Soft light can come from multiple directions, angles and sources … or from a single broad source.
Light softens as it is becomes diffused and reflected. Soft light appears gentle and smooth; it illuminates areas evenly and appears to embrace your subject. Diffused light is also broader than its undiffused counterpart, which means it reaches more places in your frame. In the picture on the left, the scallops are placed against back light, which is diffused with a bed sheet.
The closer your light source is to your subject, the more powerful it is—hard or soft. The ultimate feel and aesthetics of your photograph will be affected by: A plate of roasted scallops is placed in soft light to create an airy atmosphere. Diffuse and Reflect Learning how to diffuse and reflect light, and do it well, is key to photography, especially in natural light.
The concept of diffusing allows for light to come through your frame in a softer and ample way than raw light allows. And reflecting light commonly called bouncing is yet another way to add dimension and visual interest to a photo. It allows you to fill in darker areas of a scene that may otherwise be heavy and distracting. Diffusing and reflecting techniques offer more ways to get the shot you envision. There are many things you can use to diffuse window light—from professional scrims and silk screens to thin white bed sheets.
Yet all essentially perform the same duty. Diffusers simply filter and soften the light that comes through it. For most of the pictures I shoot in my studio, I cover the main window with a long satin sheet draped on a regular curtain rod. Pretty DIY, but it works great for the strong light that tends to blaze through this window.
I wish I had something more sophisticated for you, but there you have it. Double up your bed sheet if more diffusion is needed. On the Go When I go on-location to shoots close to home, I like to take a 40x60 multipanel screen that attaches to a stand.
It functions as both a reflector and a diffuser. Diffusers come in all sizes and price points, so evaluate your actual needs and budget before shopping around for this.
To use your diffuser, position it against the window or near it. The nuances are. You can also reflect, or bounce light off a surface and let it fall softly on your subject. A small inch white panel can be used as a bounce or diffusing panel. Reflectors Along with a diffuser, you may want to add a reflector to your photography toolbox. Reflectors come in all shapes and sizes and are relatively cheap. A small inch reflector can be quite helpful in many situations.
Usually held in place by two clamps, this reflector has both a silver and a gold surface for reflecting purposes as well as a white one that can be used as a bounce or a diffuser, if needed. Another handy accessory is a large circular or rectangular panel that is also comprised of three surface options: These are great for large setups, and even come with a stand! And keep in mind that light can be bounced from walls, ceilings, towels, plates and other surfaces as well. And almost everyone has a strong opinion about what colors they like best.
Play with all the options to find which ones work best for the type of dish you are photographing. The gold reflector used in this salad shot cast a golden color onto the dish.
The golden hue on the green of the salad and the radishes makes the image look slightly outdated. Using the silver side of the reflector made a small … but to some, important … difference in the overall color tone. The green of the salad is vibrant and the whites of the radishes are more natural. These images were shot with a setup that included a small reflector, which was used to bounce light back onto the dish.
The light in this scene was coming from a window on the left, and I bounced it on the right.
Go Big Depending on your available space and the image you need to create, it may be worthwhile to invest in a large reflector. They come mounted on a stand, which gives you greater freedom of movement. The stands are lightweight and the reflectors fold flat, making them easy to store and tote around. Also, a larger reflecting surface bounces more light in a broader way, which is usually quite beneficial. Decisions about how much or how little of the light to bounce and with what—a reflector, card board, mirror, etc.
Examining your pictures and playing with different setups will help you decide which bouncing situation works best for you.
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Also, keep in mind that the distance between your bounce and the subject will affect how much light makes it back to your subject and fills the darker areas. I suggest positioning your subject as close as possible to the bounce and then moving the reflector away in small increments until you find the right distance.
Notice that shadows become stronger as you position the bounce further from the subject. The setup for this shot of the salad is the same as the one used for the previous photos, except a larger 40x60 reflector, mounted on a stand, reflects even more light onto the dish. I placed a few radishes on a table with light coming from the back.
I did not diffuse this light or bounce it in the image on the left below. The incoming light creates visible and long shadows around the radishes, which is a bit distracting. They take away focus from the radishes. The only thing I changed to the setup for the second shot was to diffuse the light by hanging a bed sheet over the window. This immediately reduced the. It also softened the overall light in the frame and brought focus back to the radishes, although the right side of the vegetables are a bit dark.
The light was coming from behind the radishes. It was left undiffused and unbounced, which created distracting shadows. This reduced the strength of the shadows. The radishes were still back lit, and the light was diffused. It was also bounced from the right side to reduce the strength of the shadows and add more natural light to the picture. In the final picture of the radishes on the right, I kept the diffusing bed sheet over the window and added a white foam board to the right side of the scene to bounce the light.
This evened out the light throughout the frame and diminished the dark areas around the radishes.
This was the picture I used for the article I was working on. The use of this and any other photography technique depends on a variety of factors, including: I wanted to play with the messiness of the cut-open pomegranate—a fruit known to be juicy and messy. I also wanted to play with the strong shadows and highlights given off by the light to help convey that messy feel.
The pomegranates were shot with side light, which was not bounced or diffused. The shadows emphasized the feel of messiness coming from the composition. I tried to add a bounce on the right side to fill in the dark areas and lighten the red color of the fruit. But I realized that I liked how dark red it was, so I decided not to bounce the light after all. I wanted to keep everything around the pomegranate very highlighted and almost blown out so the eye would focus only on the fruit.
Unlike the moody shot of pomegranates, the intent for this picture of ice cream sandwiches was to keep the light soft and balanced throughout in order to let the two-color elements in the shot the striped straw and chocolate cookies really stand out. I then bounced more light onto the sandwiches by positioning a silver reflector on the right. These ice cream sandwiches were shot in side light that was bounced and diffused.
Finally, one of my personal favorite images for talking about light and storytelling is the one of Provencal Stuffed Squash on the next page. It was such a terrible day for a photo shoot when this was shot. Yet the shoot continued. However, money invested in photo equipment can tally up fast. Thankfully there are plenty of items that you already have on hand to get you started in the world of diffusing.
Use bed sheets or any cloth you may have for diffusion and small mirrors, glass bottles, white dinner plates and foil-covered cardboard for reflection.
The photograph shows a popular dish of Provence in France. I chose to use the dark ambient. The composition supports this feeling as well. This led to greater highlights than would have appeared with diffused light, but these highlights add a pleasing drama to the frame. Nor did I bounce the shadows on the right. This was to retain the feel of moodiness in the shot. The Provencal Stuffed Squash was photographed with side light, and it was not bounced or diffused.
Natural Light Sources Photographs shot under natural light, whether from the sun or through a window, are usually more natural to the human eye that those created with lighting setups. But natural light sources are not constant; the light changes by. Each of these variables alter shapes, tones and colors. For instance, in Western Europe and North America, wintry days bring about hazy or crisp blue skies with silver tones, whereas summer days produce a warmer light with more pronounced golden and green hues.
To achieve the look you want, you need to know what effect different light orientations produce.
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To select a natural light source that will best enhance the dish you want to photograph, here are some things to consider. Outdoor Light As a beginner, I figured the light on my outdoor patio would be the best.
I mean, it was the sun and the sky! What broader and more readily available light can we find, right? Strong direct sunlight is actually quite a challenge for most photo situations.
Colors are more pronounced in this kind of light, and whites tend to become blown out more easily. All of this makes your job as a light whisperer that much tougher. The picture on the right was shot as an outdoor snack board. It was the middle of a very sunny summer day when this composition was created, but I decided to wait for the latter part of the afternoon to take pictures. Among the benefits of waiting was the softer shadows produced by the afternoon light versus the high contrast produced by strong noon-day sun.
This helped me keep the subject well-defined and not masked by large dark areas. The sun was on my left, and I chose not to bounce the light on the right with a reflector. This is why dark areas remain under the egg bowl in the background and the fig basket in the middle ground. Yet this works because the cheese plate on the far left is very highlighted due to the sunlight, creating a nice balance.
Fortunately, the colors in this shot were muted, so only the whites threatened to become overpowering. I controlled this by keeping whites to a minimum. The three places they appear in the frame cheese, milk and sugar are separated, so they do not become one large source of white.
A table-setting shot outdoors one late afternoon presented a few challenges due to that gorgeous sun! If this setup had included strong colors, such as bright reds and oranges, it would have been even more difficult.
Indeed, the sun would have made them even stronger, distracting the eyes away from the rest of the elements. I may have even moved this whole scene indoors. Cloudy days provide a terrific environment for photography.
The clouds create a natural diffuser for outdoor light, which leads to softer shadows and less. The light on an overcast day will wrap around your subject and fall more evenly than they do under strong direct sunlight. There are so many different textures and heights that appear in the dessert table image. The soft quality of the light helped keep the look very smooth without dramatic highlights. And the inclusion of different heights and shapes keep the image from appearing stale.
This visual variety adds movement to the photograph and breaks the even nature of the light. Find more information on setting up your scene in Chapter 5 Composition. I was working on an outdoor summer party for a magazine feature when I shot the blueberry sorbet on the next page. Yet it was the middle of winter! So I tried to capture the feel of summer by shooting on a bright sunny day.
To help me manage the changing light situations throughout the day and filter the light coming directly from the sun, I set up most of the shots under the patio awning. The light in that location was nicely diffused and fell evenly in the frame, minimizing shadows and reflections in the glass. No matter where you choose to shoot, remember that outdoor photography during daylight hours will enable you to keep your ISO relatively low try to and up to if the weather is overcast.
Also remember to set your white balance appropriately when outdoors: And pay attention to the season. The quality of the light will be different in winter than it is in summer, so be sure to make the proper adjustments as covered in Chapter 2.
This blueberry sorbet was photographed under a balcony, where there was nice, even light. When not diffused, direct light coming through a window on a clear and sunny day can be just as strong and harsh as unobstructed sunlight outdoors.
But if you prefer a softer light with less contrast, try shooting under early morning or late afternoon light, which tends to be gentle and easy to manage. The soft light of an early Fall morning is coming through the window to cast an atmosphere of openness.
This cupcakes image was set up indoors in a place where light streamed directly through the window on the left. The light was undiffused to create lots of highlights in the scene and even blow out some of the whites.
The shadows were very strong, and to reduce their impact and retain the lightness, I bounced the light with a silver reflector that was positioned on the right.
Remember, diffusing light coming through your window evens out the quality of the light. This diminishes the hard contrasts and softens shadows. Here you have it, my favorite diffuser is actually a recycled bed sheet! Even after diffusing the light, you may notice that shadows and highlights are still too strong. If you want to incorporate a dramatic dimension to your picture, leave it as is.
Or, consider bouncing the light so it hits your subject from the opposite side as well. This may help fill in some of the dark spots. The setup for this photograph of a salad featured light coming from the left side, diffused with a bed sheet and unbounced on the right. This is the same salad with the same left incoming light, which is diffused with a bed sheet. But this time, a white board bounced the light from the right. In the pictures of the salad bowl above, the light came in from the left.
I used my bed sheet diffuser to soften the direct window light, and I did not bounce the light to illuminate the other side of the bowl in the photograph on the left. Therefore, shadows naturally fall at the bottom of the bowl onto the table. By using a simple piece of white foam board for the image on the right, the light bounces back onto the bowl, filling in the dark areas.
Depending on the quality and quantity of the light coming through your window, you might find it necessary to make some adjustments to your camera settings. Prime natural light is typically available for an hour or two after sunrise and an hour or two before sunset. This is known as the Golden Hours. Close to the Equator, less time is available for Golden Hour light.
As you get further from the Equator, this superb lighting lasts longer. Among my most precious pieces of photo equipment is a cent piece of foam board that I use as a bounce to fill in troublesome shadow areas. The light carries a warmer tone in the summer than in the winter, for example.
Refer to Chapter 2 for examples of white balance adjustments. Your ideal light orientation depends on your location and personal preferences. Where I live in the southeast US, I very much prefer a south-facing window, because I prefer the many variations of light that this orientation offers throughout the day.
But I know other photographers who love northern light above all other options. So if you intend to shoot as long as possible throughout a given day, observe which part of your house or locale receives the most light and for the longest time. Northern light is known to be soft and consistent. This is its upside and downside. Southern light, on the other hand, offers a variety of strength and shades of light. This requires a photographer to be aware of and prepared for these variations.
Start with one orientation, move to another.
See how one light. Play and practice. Just keep in mind that things change with the season. During winter in the Northern Hemisphere, the sun is positioned low, near the southern horizon, so more direct sunlight may come through your south-facing window at this time. In the summer, the sun is oriented higher in the sky, so this affects the angle of light striking that same window.
Light As Story Teller Above and beyond the props, color palette and styling of your photo setup, light—the lack or abundance of it and your manipulation of it—is integral to creating images that reflect the mood, the ambiance and overall tone, you envision.
As emphasized so far in this book, thoughtful management of light helps you to draw and hold the attention of your audience. A picture is worth a thousand words, yes; let the first one be Wow! Whether you choose to photograph in direct sunlight outdoors or with a natural or homemade diffuser indoors, always photograph with intent.
Some questions to help define purpose: When managed appropriately, the quantity, quality and direction of the light will enable you to tell your story in a visual way.
Some light situations will be more useful to you than others. Then, think about the direction of your light. Where is it coming from? And is it appropriate for your shot? For a photographer, trying to manipulate a natural element as fundamental as light is a constant.
You simply must know where the light comes from and understand how each direction impacts your shot. It impacts the overall look of a picture tremendously. Natural light changes all the time, keeping you on your toes and your creative juices flowing. Front lighting produces a rather flat light which makes it relatively simple to set the exposure.
By the way, a light is said to be flat when it produces very little contrast, which reduces the multi-dimensional nature of a subject. Yet this is said to be one of the main drawbacks of front lighting: To help, try standing further away from the subject —and maybe use a telephoto or macro lens. This will let some of the sun beams go right above your shoulders and fall onto your dish. Back Light When you use back light, the light source is directly in front of you, behind your subject.
I know, this goes against the first bit of photography-lighting advice you probably ever received. Successfully reported this slideshow. We use your LinkedIn profile and activity data to personalize ads and to show you more relevant ads. You can change your ad preferences anytime.
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Upcoming SlideShare. Like this presentation? Why not share! An annual anal Embed Size px. Start on. Show related SlideShares at end. WordPress Shortcode. We use your LinkedIn profile and activity data to personalize ads and to show you more relevant ads.
You can change your ad preferences anytime. Upcoming SlideShare. Like this presentation? Why not share! An annual anal Embed Size px. Start on. Show related SlideShares at end. WordPress Shortcode. Published in: Full Name Comment goes here.Side lighting adds dimension to your images by bringing forth the shape, textures and shadows created by the food and props.
Taylor, your genuine friendship and love of photography are gifts indeed. This visual variety adds movement to the photograph and breaks the even nature of the light. Yet photography was never very far from her heart. Tips and techniques for making food look good-before it tastes good Food photography is on the rise, with the millions of food bloggers around the word as well as foodies who document their meals or small business owners who are interested in cutting costs by styling and photographing their own menu items, and this book should serve as your first course in food photography.
So, you ask, what does that mean? Are you groaning right now, thinking about it?