Francesco is an Italian food photographer, food stylist and chef. So you can always have them right there with you. 1). 0000001333 00000 n 0000029503 00000 n The project in advertising is to associate pleasure with a package and a commodity name. Our only available responses are disgust or amusement. The book where I cover the basics as well as sharing the really juicy tips that took my photography to a level where I was taking on photography clients less than a year after I picked up a DSLR for the first time ever. 0000032977 00000 n �Z��S�k3�5go�y�îK����������m�����i��_Ʀ�� '�UE�V�zI�*���v8�M̪7E�%~$?���O� y~&?�_��A�r1s�%.�%xI^��,`K���\���D�0S�)�d These visual rhymes dictate the logic of the image and unite disparate materials—gilded wood, steamy pasta, silver cutlery, and peeled orange—and disparate allusions—to ancient China, modern Italy, and to aristocratic eighteenth-century France. 0000035448 00000 n What technical, rhetorical, psychological, and social considerations are embedded in, or suppressed by, this image? 2020 - Dans ce tableau, découvrez comment composer une photo. The Art of Composition. At the table, food is consumed and reenters the realm of disorder, and therefore behavior taboos underline the fact and the meaning of this counter-narrative, the biological food cycle. Food Photography: Learn The 5 Essential Rules of Beautiful Food Photography Composition! Postmodern food, like postmodern architecture, displays quirky, unexpected combinations of textures and materials; its visual quotations are witty. Creating your food photography composition by styling to the camera allows you a single point of reference; an unchanging view that you consult with each addition to your story. It is characteristic that the title of this image points to the meal and to a desirable physical place, in this case the garden of an island summer home in which hydrangeas bloom. The agricultural product is now food and it is presented to the viewer of the photo to maximize desire. 0000002627 00000 n We never see “pig” or “swine” on the menu—these are Anglo-Saxon words, and when the Anglo-Saxon King Harold was defeated in 1066 by Norman-French William the Conqueror, Anglo-Saxon words were demoted to the barnyard and the peasantry, while the French word “pork” was used at the table and by aristocrats. Jesse Dittmar, “Actress Kate McKinnon, Who Starred in ‘Ghostbusters,’ Grabbing Some Lunch in August—Or Is it Grabbing Her?,” New York Times, December 31, 2016, “Arts Section: In the Moment: A Sampler of Memorable Images from the Y ear in Culture,” C1, Reprinted with permission of Redux Pictures. The Starlight Studio is one of the favourite online stores for buying food photography composition pdf at much lower prices than you would pay if shopping on other similar services. Circulation figures make it clear that the implied gaze is female: 73 percent of the subscribers to “America’s #1 food magazine,” Bon Appetit, for instance, are women.4 Within this context, it is useful to consider Janice Radway’s classic Reading the Romance (1984, 1991), in which she does a remarkable reader-response analysis of romance novels as a literary genre, learning about the predicaments of the women who read them and the utility of their highly keyed fictional plots in helping women negotiate the disappointing reality of suburban lives. Figure 6. The first rule is the Rule of Thirds where a picture is divided in nine parts and that … Natural History Food Photography About Joe Atlas Photography Agriculture Photography Architecture Photography Contact Joe Atlas Environmental Portrait Photography Custom PDF Overview Furniture-factory-spray-finisher-by-annual-report-photographer-Joe … With every addition or subtraction from your story you take a picture. Romulo Yanes, “Lunch Among the Hydrangeas: Fresh Fig, Prosciutto, Arugula Salad with Parmesan Shavings,” Gourmet (July 1998), 88, Gourmet Studios © Condé Nast. For a primer on food styling, see John F. Carafoli, Laura Mulvey, “Visual Pleasure and Narrative Cinema,”, See, for instance, the Spring 2016 issue of, “November Everyday Food,” and “A Round of Applause,”, See also the opening page of Gabrielle Stabile, “Garden Fresh Vegetables,”, See Matt Duckor, “A (More) Perfect Union,”, See, for instance, David Prior, “Fish, Forage, Feast Connemara,”, See for instance, Ben Schott, “Do You Recognize One of these 27 Omnibores?,”. For an assemblage of photographs of food by art photographers, see Susan Bright. 0000031887 00000 n Figure 4. The orange of the prosciutto vibrates against the blue of the plate, and the red of the fig interior vibrates against the green of the arugula leaves. This guide by professional photographer Karthika Gupta takes you … Its plot is always the same—beautiful food enjoyed in sociable and interesting contexts—where the labor of meal production and the facts of the biological food cycle are carefully suppressed. This is a highly practical book and doesn’t require fancy photography equipment. So this is The Food Photography Book. The image is a symphony about interesting variants on circles, gyres, and spirals, about the present that exists in relation to both the immediate narrative of an elegant dinner with an implied companion, and the longer historic narratives of culture contact and cultural appropriation of distant places and regimes. Download it once and read it on your Kindle device, PC, phones or tablets. It does not lie passively on the plate but stands erect, defying both gravity and our expectations. What these colors do to each other was called by its discoverer in 1839, Michel Eugène Chevreul, a French textile administrator, the Law of Simultaneous Contrast.8 In short, orange will always appear more vivid if next to blue; green will be brighter next to red; and purple will brighten yellow. Similarly we eat “beef” from the French boeuf rather than “cow” or “cattle”—Old English terms that remain barnyard, not menu, words for the same thing. . SaveSaveFood Photography Composition is probably the single most effective technique for sucking the audience into your food photos and keeping them drooling over that recipe. Food Photography From Snapshots to Great Shots Second Edition Food Photography Second Edition From Snapshots to Great Shots US $29.99 CAN $36.99 ... up-to-date discussions on achieving good lighting and composition. An odd number of chairs and place settings would invite the viewer to imagine distracting subplots and potentially suggest social discomfort. They incorporate power relations, aesthetic pleasure, and voyeurism. Food photography is widely viewed but little studied field of visual culture, and this brief essay offers a welcome opportunity to revisit a topic I broached fifteen years ago in the photo journal Exposure.1 By the term “food photography,” I mean commercially produced photographs and photo essays that contain mini-narratives that appear in the editorial matter of popular food magazines, such as Bon Appetit (and many cookbooks), as distinct from both advertisements for food products and from photographs of food by art photographers.2 Analyzing the rhetorics of food photography in popular magazines, we can begin to understand the genre as a genre, identify the audience for these images, and investigate some provocative bleed-over from the worlds of technology and fine art into this enduring form of popular culture. In this example, I chose a straight down camera angle. 0000001596 00000 n 4. to imagine a more perfect social state as a way of countering despair.”5 While food photography is a visual rather than a literary genre, its overwhelmingly female audience and many of the operations of its conventions in terms of personal empowerment resonate with Radway’s romance novels and her findings. Warm tones predominate, as does a leitmotif of spirals that echo through the circular plate, entwined pasta, a curl of orange peel, and rococo C- and S-scrolls on the fork. 3��LA�0S�)JV�#;0�(��p��9ʚ�s���ʖ�s=��Zth�i�i�i�i�i�i�i�i�i�i�i�i�f��Aу2_���W�+���|E�2_���W�+{P��|����P�e'�N��(:Qv��Dى�e'�N;q����������������������������������|V�������j~�U{�1-�y�k ���g���h�(��/ 6��C endstream endobj 69 0 obj [/ICCBased 81 0 R] endobj 70 0 obj [/Indexed 69 0 R 202 82 0 R] endobj 71 0 obj [/Indexed 69 0 R 143 83 0 R] endobj 72 0 obj <> endobj 73 0 obj <> endobj 74 0 obj <>stream In “Grilled Flap Steak and Asparagus with Béarnaise Butter” from Fine Cooking (June/July 2016), for instance, the serving plate is offered at life scale, the point of view is overhead, the focus is selective and precise, the red of the beef amplifies the glistening green of the asparagus—all of this is familiar—but next to the dish, a long column of text disrupts the fantasy (fig. Food Styling: The Art of Preparing Food for the Camera. has a recurring set of critical problems, including fictive space, the picture plane, the position and nature of the beholder, and notions of realism and representation.”3 What interested me initially about food photography was working out its paradigmatic “critical problems” and narrative conventions and linking them to real-world events on the one hand and, on the other, to the readers whose deeply engaged viewing was everywhere implied. 0000004851 00000 n photography school. The moment of presentation of prepared dishes at the table is the perfected and most critical part of this larger biological narrative. There are really only a few camera angles in food photography that you see again and again, but you need to make the one you choose, a conscious decision. Trying to be the photographer, assistant, food stylist, and art director all at the same time was a recipe for disaster. The table is set for four; it is always an even number. 1). 0000002041 00000 n NOTES Part 2: PLANNING YOUR COMPOSITION 1. trailer <]/Prev 74067>> startxref 0 %%EOF 89 0 obj <>stream 7)? ]��]���:�_R���w���^�|{��/=j��-��ѽ5z����.�n6������j��x����}J��k��W��*4+'�,]�h�2���۟-X��ןU��O&�?���ӑm1��g�9y�d��9�oɷ�y�'߃W�xM^��3}���t�p�� ���������������A�Q�Q�G�G�G�G�G�G�G�G�W�W�W�W�W�Wx��g1� �0� �0� W`��\�>>�>>�>>�>>�gقK��]\�M���������8��. No doubt in response to readers’ affirmations that they did not want to just see the food, they actually wanted to make it, and to do so with the immediacy of the photograph in sight instead of having to ferret out the recipes in the ignominious back pages, this shift in graphic presentation disrupts the temporally specific perfected moment of the pictorially offered meal. So in one sense these images are very literal and descriptive, and in another, they elide much. This eBook explains 8 easy practices commonly used to compose great photographs. complete photography: photography and the camera fTaking a Picture creating a photograph requires only the single act of pushing the button that triggers the shutter, which is a Composition Using Three Items. Voir plus d'idées sur le thème photos, composition en photographie, photographie. is only gestured at, and the implied agricultural labor (harrowing, planting, weeding, picking, drying, winnowing, threshing, milling, breeding, feeding, castrating, butchering, etc.) Figure 7. All signs of inedible parts and all signs of labor and violence are strictly edited out. The case of Kate McKinnon being photographed eating noodles in public skims that borderline and captures taboo picturing where the viewer’s social anxiety begets comedy, for McKinnon is a comedian. 27 déc. This is the view of the eater, a fact reinforced by the curl of pasta on the fork signaling that, temporally speaking, this image records the critical moment before a first bite has been taken, the moment of maximum anticipation and desire. Generally speaking, I find it easiest to compose with three items. Take care not to use too many different colors in a single photo, as this, too, unbalances a composition. 0000016718 00000 n The eating implement here is not just lying provocatively on the plate like that rococo fork in “Herbed Angel Hair,” it is visibly “digging in” to the egg, causing it to “bleed” over the parent chicken. 0000003230 00000 n Authors Seeram and Heber are with UCLA Center for Human Nutrition, Rm13‐138 Warren Hall, 900 Veteran Ave., Los Angeles, CA 90095, U.S.A. Food makes a journey from disorder (in the field) to order (at the table), back to disorder (in digestion of food eaten). The food photograph captures a particular moment in the food cycle—the moment when hunger and the desire for ideal sociability are about to meet satisfaction. The intent is to encourage the viewer to taste the dish with her eyes. Try to select colors that complement the color of the food. Then place the camera where you think best highlights these qualities. Even more suppressed are the facts of the biological food cycle. 3 (March 2016), 4, © Peden & Munk/Trunk Archive. Why, one wonders, is the photograph of a beautiful actress with a handsomely presented meal at an upscale white-tablecloth restaurant actually eating, included by the New York Times in a “sampler of memorable images from the year in culture” (fig. • Types of food photography vary: blogging, informal social media, editorial, and commercial • Overview of good food photography • Successful shooting angles, macro, close-up, overhead, 45 degree dining angle • Food styling basics • Plating/prop styling • Composition • Working with continuous light. 0000025714 00000 n However, as another page in this issue makes clear, the conventions of Instagram photography follow those long established by the professionals, including the overhead “plan” view, the absence of bite marks, and the preference for foods that exhibit color opposites to “make my meal kind of ‘pop up.’”13 The object for many is to post photos that receive lots of attention (countable hits), not to share recipes or even the social occasion so obliquely recorded. Find and buy food photography composition pdf from The Starlight Studio with low prices and good quality all … In “Lunch Among the Hydrangeas,” this is a full-page gorgeous photo ‘bleed’ of the luncheon that has been plated in this garden (fig. We also have related language taboos. 6).11 At first blush, this image, suggestive of hip single twenty-somethings, seems an odd photograph to feature on the contents page of this food magazine, given that the readership of Bon Appétit is 73 percent female, 60 percent married, and, in terms of age, pushing fifty. One answer is suggested by the metrics publicized by Saveur, whose readers’ household income is reportedly $158,942 (by comparison, Bon Appétit’s subscribers are reported to have a $91,879 median household income).14 Saveur reports in its 2017 Media Kit that while many more individuals look at Saveur online, where one can scroll through small-scale photos and access recipes, the average time online viewers spend is just six minutes, likely in pursuit of a specific recipe.15 By contrast, they report that their hard-copy subscribers spend an average of ninety-five minutes with each issue, and so clearly these readers have more opportunity to savor the photo essays, and their advertisers have more opportunity to catch the interest of those who dwell on every page. This optical effect has become a mainstay strategy of food photographers. “Food photography, product photography, or even fine art. Any free PDF’s floating around out there violate copyright, so be aware, and give the artist proper support. Reprinted with permission of Art Culinaire Magazine. Author Seeram is now with Bioactive Botanical Research Lab., Dept. But now, the artwork that is food—both at home and restaurant meals—can be easily captured and shared. Not only is it a manual on compositional principles—it’s a guide to how to place your food and props on set to make more powerful food photographs. 4). In reviewing my initial analysis of the visual culture of food against current practice, I found that remarkably little has changed in the way food is presented in these popular magazines, in the conventions of the individual photograph, or in the linking of sequences of images into photo essays that read as narratives of place, of companionship, and of taste. Use features like bookmarks, note taking and highlighting while reading The Food Stylist's Handbook. This is another one of those rare books, but you can also find the printed version on Amazon. The strategies often involve putting the food in motion (bursting, pouring, splashing) and almost always include beautiful people, portrayed by professional models, in the scene. The viewer is in a position of power over the as-yet-untasted food, a player in the narrative on the point of realizing her desire of consuming the object of her gaze in the company of ideal companions. I hated it. “If all you have ever done is one genre of photography, branch out and learn a new one,” says David Wilder, a photographer based in Calgary, Alberta. FOOD PHOTOGRAPHY MISTAKES (+ 21-DAY CHALLENGE) […] H�|��n�0E���Y�Ӝ�S���Xu�� (�r@Q�p���wHډR� �&���g�I̗���ty�|x�;��v�4 ��B+t���T�-*��F9g[HG���HDhF�I�$E��Y���~ ��$��:� ��{��B�$-O��D�sͧ�N8e"�E�3p+�sY�����ưN����|����ʵ\P,��\��x�g�a����*�� TӲDTm���b�5�~���D�� �tU/p�#h�#��ͣ� ��^ ���^.���‹$����'�� k�f�Q,� ~EE�phc(�z�8�=#�)�]���ȗ��ӊ̛mK�z���.u����̴��vI��]SX�gt�m���Չ��Y��C��m���G�D*'��+@�DD�c��Ӏ�|3?�ad�Xb�g*>8@8F_�����p�.�~;ɜe:��S�?�V����Y��:���T׽��VV!rӋ��ܶ�7��� X�r endstream endobj 75 0 obj <> endobj 76 0 obj <>stream A … 0000000836 00000 n Food magazines understand humans to exist in pairs and to socialize in multiples of pairs. My working assumption is that magazine editors—necessarily motivated to deliver readers’ eyes to advertisers’ content on nearby pages—are especially alert to the ways social assumptions touch the real lives, fears, and fantasy aspirations of women in middle America. After reviewing these enduring conventions, I will also consider the changes that have occurred in the way food is contextualized in these magazines and cookbooks today, specifically how this type of professional commercial image-making has responded to culture shifts, to new technologies, and to social practices. Its size, shape, height and what is unique about it. But clearly this is an editorial bid by Bon Appétit to stir interest among millennials. The Art of Visual Storytelling. With scale, visual rhyme, selective focus, and a calculated point of view, the photographer (in collaboration with cooks, food stylists, decorative arts specialists, and editors) controls the viewer’s gaze, and of course the gaze is not neutral.6 As theorized by Laura Mulvey and others, the gaze in film and most other pictorial art forms is gendered male, an I-it power relationship.7 That the gaze in food photography is gendered female gives us an unusually raw instance of the empowered gazer seemingly on the brink of consuming the object of her attention. Their slow experience of luscious full-page bleeds on the highest-quality coated paper, of photo essays that encourage the viewer to imaginatively inhabit a different, more upscale, exotic, interesting place, indicate that the reading experience of well-crafted food magazines, with all the conventions of food photography in full operation, is akin to that of Radway’s readers of romance fiction. The main subject of my photo is the bowl at the bottom of the picture. 63 0 obj <> endobj xref 63 27 0000000016 00000 n Supplies Needed • Camera 0000003275 00000 n Romulo Yanes, “Lunch Among the Hydrangeas,” Gourmet (July 1998), 87, Gourmet Studios © Condé Nast. Interestingly, what people busy with their iPhones do not do is make candid shots of their friends eating, or competitive selfies actually biting into or chewing—that is, actually enjoying—their food. Authors Sathe and Kshirsagar are with Dept. Based on her 30 years of experience in food … 0000003195 00000 n Food magazines always provide instructions, recipes, and menus in some form to help the reader achieve the pictured meal as well as visually consume it, if desired. Beyond the establishing shot that provides a desirable architectural and landscape setting, these photo essays always include—indeed foreground—portraits of specific dishes in minute, usually full-scale detail. . 0000028362 00000 n Snapshot food photography has become part of self-presentation, daily posts, and competitive likes on social media. Francesco Tonelli. He had already hired a food stylist and he was sure that I would do fine. Whether your photography food style is minimalist … It serves up an ever-various but predictable set of images ready to transport its target reader to a place outside the home, hair salon, commuter bus, or dentist’s office in which it is read. Figures tend, however, to be ordinary people rather than beautiful actors—most often restauranteurs, cooks, fishmongers, wine-making peasants, baristas, and others whose livelihood involves food, and who the viewer can read as service providers. Without thinking, one can instantly recognize the different rhetorical devices and never confuse editorial photo essays with advertisements, even though the latter are often deliberately keyed to the former. Improve the Composition With a Focal Subject. James Elkins, “Writing Moods” in Rachel Ziady DeLue and James Elkins. ... And at the end of the lecture there's a PDF you can download. In Landscape Theory, James Elkins reminds us that “Painting . Food pictured in the context of brand-pushing follows very different rules than those discussed above. Food photography composition When taking pictures of food, you have the advantage of a subject that is stationary. Rule of Thirds. In “Three-legged Chicken with Soft Boiled Egg,” which appeared in Art Culinaire in the winter 1998/99 issue, three drumsticks are trussed together to form a kind of pedestal or platform for a soft-boiled egg (fig. In postponing appetite satisfaction, it also keeps desire eternally at the point of critical and pleasurable anticipation. And note the use of color opposites. Only secondarily about the pleasures of cooking, what these photographs and photo essays underline is yearning for ideal companionship, leisure, and aesthetic experience. It is often a good idea to reflect the color of your main dish in additional elements in a composition, such as a serviette, a glass, or freshly cut flowers. That is why it is vital to eat different foods each day. Helene Dujardin’s food photos … Food photography is similar to still life photography, and using the rule of thirds can “make all of your photos instantly look better,” according to photographer Derek Boyd. “Photographing the Pizza,” in “Instagramming Your Food Is an Artform,” Bon Appétit 61, no. My initial question asked why the photo “Herbed Angel Hair”—that I propose is characteristic of late twentieth- and early twenty-first-century food photography—looks the way it does (fig. from the year in culture” not because it shows anything remarkable, but because it pictures the wrong moment for picturing. The photograph is “memorable . Such disparity between viewer categories suggests that hard-copy subscribers are not just looking for cooking information. If the introduction of written-out matter-of-fact how-to recipes directly onto the field of the dramatic photograph—as seen in “Steak Asparagus”—is the first important development in recent food photography, the occasional introduction of human actors is the second (fig. What Is the Role of Patriotism in the Study of American Art? Artfully prepared food pictured on the cusp of consumption is fixed at one moment in a narrative that is unpictured, but which we cannot not know. But much remains unchanged. is invisible. Until the development of the smartphone in 2007, taking food photographs involved specialized lenses as well as tripods, photo lights, and a crew of food stylists and others. In architectural terms we can speak of the overhead view as a “plan,” the end-on view of, for instance, a sandwich as an “elevation,” and the oblique assembly of several related plates as a “perspectival view.” Of these, the plan and elevation are the most powerful, as they are the most suggestive of immediate eating. Professor of American Art at the University of California, Berkeley. 2). She alerts us to the “utopian longing” of those who “appropriate and use the mass-produced art of our culture . The Beginners Guide to Composition in Food Photography: How to Transform your Food Photos from Good to Bloody Beautiful. 0000003684 00000 n Angelo Caggiano, “Herbed Angel Hair,” Prevention’s Low Fat Cooking; Marianne Sauvion, food stylist, ed., Jean Rogers (Emmaus, Penn., Rodale Press, 1993), 57. But my boss at P&G, where I worked at the time, assured me this would be different. Nicole also covers developments in the industry, such as the emergence of mirrorless cameras, and more. . But like Radway’s romances, the fantasy proffered is exactly that—a fiction that women experience vividly but vicariously, one that does not compromise the social self. Indeed, showing the actual consumption of food remains somehow unpicturable and unappetizing. Franz Mitterer and Ciara T. O’Shea, “Three-legged Chicken with Soft Boiled Egg,” Norman Van Aken, cook, Art Culinaire Magazine (Winter 1998/99), 50. While the subject is food, the basic fact of appetite is entwined with complex webs of desire, displacement, suppression, and substitution. Figure 3. 0000036357 00000 n I placed the bowl along the bottom line, over the two bot- vious page, and you can see the final photo in this blog post Go to the next page to print out your own grids. This is a rare but interesting instance in which food presentation begins to self-consciously press its own conventions. learn food photography PROGRAMS BUNDLE 21-day challenges 2020 FOOD COMPOSITION & STYLING EBOOK (+ 21-DAY CHALLENGE) – Learn different composition techniques + create your own unique style ; – Learn the basics + challenge yourself with practical “tests” and “exams”; – 21+ cheat sheets; – 260+ pages & interactive pdf format. Food photographs in the editorial pages of food magazines (and travel magazines, as these are as focused on food as on sights), are usually contained within two- to six-page stories, and those narratives have a characteristic structure. Food in editorial food photography is never branded. Some food magazines, such as Epicurious, have resolved this problem by placing buoyant full-scale photo bleeds on one side of the open two-page spread while the recipes appear in tidy sans serif type on a crisp, spare white opposing page—a pairing of two kinds of visual experience that are designed not to compete with one another.9 Martha Stewart Living provides two other strategies that keep the photographs clear of intrusive text but near cooking instructions: in the November 2016 issue, for instance, following six pages of full-scale thematically linked elaborate pies, two dense but elegantly designed pages give pictorial directions for their achievement.10 Secondly, at the center of the magazine, four photographs of disparate dishes are printed on heavy card stock with the recipe for each dish printed on the back; the sheet is perforated for separation from the magazine and into index card-size personal recipe files. But the implied ideal companions who complete the picture—people to vacation, sail, eat, have sex with—is left to the viewer to conjure. Think of the food beforehand. Despite the strong desire for sociability and food demonstrated by the existence, management, and wholesale embrace of the food photography genre as practiced by American food magazines, those who create these photo essays know that their female viewers are reluctant to be seen, or to imagine themselves being seen “stuffing one’s face.” Eating is an ordinary activity that raises anxiety in women who, generally, from childhood, are schooled in the “double consciousness” of not only being conscious of inhabiting a self, but also hyperconscious of inhabiting a body being watched and judged. I now feel inspired again, ready to tackle composition & styling issues with the helpful tips. But food aesthetics are neither universal nor isolated; they echo (and feed) the cultural and political contexts in which they circulate so we can see change over time within underlying sameness. I am interested in how the photographer, managing the “critical problems of photography,” positions the viewer, how she or he constructs a narrative, and how the visual image triggers desire and abates anxiety. Heck, get some incense, a flashlight and a dark room—now you can do some fine art smoke photography.” The viewer’s experience is carefully orchestrated—the photographer has used a very shallow depth of field; this selective focus keeps one’s eye on the food. H�\��j�@���{�^�htg+�����}���6P7a��}�����ff��N�ڬ7�\���z��۷�Iz�ΩV��C�iᚶ~����X�Yn���i��&,]�f��! 0000001533 00000 n Recently, food photographs have introduced hands, signaling seemingly more informal photo shoots among actively gregarious young diners, such as those seen in “Photographing the Pizza” in the March 2016 Bon Appétit (fig. 4). h�b```b``�a`e``d`@ 6 da��pL��ՀE����?�E+79[�:�����e��hޞ4�@o����[]��-��>8�Q�2/����k���)�)x�r9�+��K�����~�cw�o+�f �f�i��m~]ǥꮀl`4���&((�� ������((�T��@��\ ����@�Bk� i � �+���0Cʡ�I�A�с�� c��1ƃl%�V��5��/(�4X2��]������8>24�|d���I�EL�.�3>b��u@��{��\�H�k��� I soak herbs and microgreens in cold water for about 30 minutes before using and remove any wilted ones. . A crucial point to food photography is to have your food looking its best. The photographer controls the scope and range of the viewer’s attention by selective focus; for instance, in “Herbed Angel Hair,” the dark mat under the plate is evident only as a rough, warm, slightly out-of-focus ground plane, an object of less than tertiary interest. ‎. Its most self-evident characteristic is the almost one-to-one relationship between the image and the plate. 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