As noted earlier [1, 2] since mid-December, I have been doing some food photography. As I said to a friend “…so mundane, yet fulfilling.” Who would have known. Not every fruit or vegetable is interesting to shoot; for some it is very difficult to find and then get an interesting shot (for example celery). For some, they jump out at you and it seems almost impossible to stop shooting (for example, bell peppers). Others, simply surprise (for example radicchio).
Over the course of this work, I’ve refined my process and equipment use. The process, or workflow, has become more focused on a core set of compositions and processing techniques. Generally, like Bernd and Hilla Becher, I shoot the subject from specific directions, in a consistent light established by my light box. However, I do take the opportunity to capture interesting shots that fall outside this core pattern, as I see them.
Since starting I have upgraded my backgrounds to allow a pure white, horizonless background. My macro lens selection has narrowed. While I initially switched between a 90mm collapsible Leica lens on a set of bellows and a Konica 55mm Macro lens, I tend now to favour the latter. It is both a little less clumsy and the lens is a little more contrasty and suffers less glare. I limit the use a polarizing filter to when it’s absolutely necessary.
These steps have had the net effect of reducing the total number of shots I take, and importantly, the need to experiment. But again, if something interesting crops up, I certainly explore the possibilities.
The consistency of the light and background simplifies post processing, although as I shoot mostly macro, I make extensive use of Photoshop’s focus stacking capabilities.
Leave a Reply