Delicious Natural Light Part 2 | Complete Guide To Editorial Food Photography


(upbeat music) – Alright, so I made
couple more adjustments. Number one, I locked up my mirror. I’m getting a little bit
of bounce from the mirror as it slaps up in the DSLR, the mirror, you know,
comes up out of the way and exposes the CCD
and it jumps back down. In doing that, I was
getting just a little bit of vibration inside of the
camera and it wasn’t tack sharp. Now, remember, I’m going
for super tack sharp, shallow depth of field
and letting it fall off. And the reason why I wanna do that is ’cause I wanna kind
of create this little bit of what we call, you know, I don’t know, you call it romance, I guess. In that, you create a
little bit of mystique and mystery in the background
by letting it go soft. Same with foreground elements. They’re nice and soft. They’re just kind of
like drawing the eye in. But with mirror slap,
nothing was tack sharp. So, I’ve got this handy
dandy little intervalometer, that Canon makes. When I hit it one time,
the mirror goes up, comes out of the way. I let it settle for a minute
and then I hit it again. That actually exposes the CCD. By just opening the shutter the mirror doesn’t have to lock up
and I don’t get any slap. So as a result, I’ve got
a nice tack sharp image. Take a look at this cookie. It is dead on tack sharp right there. The foreground elements are nice and soft but they’re leading
you down into the sharp portion of the cookie. Maybe the front third
of the cookie’s in focus and then immediately it starts to fall off and it takes the eye back. This is the kinda stuff
that’s really simple, but really inviting
and really lends itself to making a good food photograph. So a couple other things I wanna touch on. Manual focus. Without question I’m going manual focus. I do not want auto focus on. Auto focus off, just go
manual, and do it yourself. Make sure that you are
focusing on the things that you wanna focus on. Alright (clapping) it actually
is looking fairly nice. This raisin here I don’t like. It’s way too big so I’m
gonna get rid of that. I also feel like I need
a little bit more cookie in the background. By “cookie” I mean “crumble”. So I’m gonna add a little bit back there. Again, hit this guy once,
mirror comes up out of the way. Hit it a second time and I’ve got a nice, clean, sharp image. Okay, some of the things that
I use are things like brushes. The reason I do that
is I just wanna get in and move a couple of things. This allows me to do a nice, little, fine macro adjustment without getting in and touching too much
of my plate or my set. If you look, these guys right here? They’re just a little too tight, so I moved it out of
the way with the brush. Take another quick shot. Bam, you can see that that
one jumped out of the way. I actually like it in a little bit. I moved it a little bit too far. Remember we’re doing
really macro movements, so I’m just gonna bring
that in ever so slightly and see what we get. Right on the money. I think. So shot one brings the mirror up. Shot two exposes it. Boom. Something you wanna think
about is the way the eye moves. I’ve talked a little bit
about bringing the eye through the entire piece. But you don’t wanna create bad tangents or kinda weird pieces with the food. If you look right here I’ve created a line of crumbs that’s almost too perfect. It matches this too much. It’s just gotta be broken up. I also don’t like this
big hunk down there, that’s just kinda bugging me. It’s too similar to this little
foot on the cooling rack. So I look at things like that and think, okay am I creating weird little junctions which the eye’s gonna jump around on? And I am. So I wanna knock these around just a bit. Still, I’m gonna be a
little calculated with it but I’m gonna be spontaneous with it too, ’cause I want it to have that kind of feel like it just happened. These are simple little things but they’re incredibly important and it’s all about fine tuning your image. Personally I think that’s
a little bit better. The eye still goes in that direction but now it’s not following a straight line of crumbs that kind of distracts the eye. It’s kind of weird. Truthfully, I call it forced spontaneity where you’re really taking a look at all the little details and making them look as natural as they can even though you’re intentionally planning them. I mean, we are planning out where the crumbs are going on this. Which really should tell you this is all about forced
spontaneity without a question. So I’m kind of liking that. I wanna get a little bit
more shadow back up there and I need to get a little bit of light right in here on this cookie. I want that cookie to
be a little bit hotter. So I’m gonna do one of two things. I wanna add just a little bit
of that kind of shadow pooling that little bit of dark light
coming in the background and I’m gonna just do
that with another card. I’m gonna build up on this guy. I’m gonna bring this guy right around here and just kind of concentrate that little pool of light right here. The other thing that I can do
is kinda work with my window. On my windows I’ve got silks that I can pull across and
help knock down some light. Which I’m gonna do right about there. But I wanna kind of
leave that on the front so it doesn’t take away too much. Now, I’m gonna add a little bit of light coming back into the cookie ’cause it’s kind of a little bit dark on this front edge right here. If you look right here, it just needs a little
bit of pool of light. So, silver cards are something really simple and easy to use. This one’s kinda gross,
but it’s still really good. It actually just kinda helps you get a little bit of dappling of light. These are cards that you can get at any local art supply store. They usually have silver,
gold, black, white. Go down there, get yourself a selection. You can mount them to a card. Sometimes they’ll come on card stock. Either way, cut ’em to the
shape and size you need and you can bring ’em right in. So all I’m gonna do is pop a little light in there. I just wanna take a look at this and see where I’m gonna catch it. I’m gonna catch it in quite a few places. I’m gonna take a smaller card
and I’m gonna use my hand to cover up quite a bit of it and I just wanna concentrate
on that front cookie. Right about there.
(camera shutter clicking) You can see I brought my
black card in too far. So now it’s in the background. It’s creating that nice dark
pool, but it also looks bad ’cause it’s very visible. So we gotta make an adjustment with that and get that outta the way. Let’s add just a little bit
more light on the front. So we’ll do it again. We’re gonna lock up our mirror as always. Click number one. Hopefully you can see that. You can see the ray of light
kinda coming off of this guy and I’m just concentrating
that right on that front edge where I need a little bit.
(camera shutter clicking) I just hold it in and bam. Much better. So I’m gonna adjust my crop here. I think I wanna bring it
down just ever so slightly. Feel like I need a little bit of that. Doesn’t have to be crazy
to be an effective shot. I’m gonna bring this
in a little bit closer. (camera shutter clicking) Right there. I didn’t get it quite right. This takes a little
bit of experimentation. It’s kinda fun. Hold it in and you can literally
just watch where it goes. Catch the light, let it off. Catch the light, make sure
you got it where you want it. (camera shutter clicking) There ya go. Pretty simplistic milk and cookie shot. Store bought cookies, right off the shelf. There’s very little that’s gonna have to be done to that
shot post production. It’s really clean. The eye kinda moves thought
it in a nice natural way. So I’m happy with it and I don’t think there’s anything else I
wanna do to it personally. What I would like to do is show you the difference of the crop factor with this exact same lens on the Mark IV. So I’m just gonna quickly switch ’em out and we’ll take a look and
see what this same scene, without moving anything, is gonna look like on the other sensor. (high energy music) We’re going with the exact same shot, but we’re switching to the Mark IV. This has got the 1.3 crop factor. So let’s see what it looks like. Same lens, everything is identical. (camera shutter clicking) Wow. It’s a bit different, isn’t it mate? (chuckling) Alright so really quickly
what I’m looking at, this is really kind of
an interesting test. That’s my original shot back on the Mark III full frame sensor. This is popping on the Mark IV, which is the 1.3 crop magnification. Very different. I really have a very different feel of the whole thing going on. It’s almost like I’m coming
from a different point of view just being zoomed in that much. The camera looks a little bit bluer. So you can tell, obviously we need to go
through and do a white balance and make some adjustments here because it’s definitely
a little bit different. I like it. Just a very, very different feel. In fact, I could probably go with this. That’s not a bad crop. I might do a little bit of
adjusting, raise up a little bit and see what that gives me. In fact, let’s do that while we’re here. We may as well just kind of futz with it. What do you guys think? Anybody with me? I’m gonna throw the mirror card in there or the reflector card. (camera shutter clicking) Let me switch to this guy. I’m gonna use my trigger. (camera shutter clicking) Now, I did that last one
holding onto the camera which is really a bad idea. If you’re gonna do something
like this, use a trigger. Because there is gonna be a little bit of movement in your hand. Why touch it? Let the camera do it’s thing without you. You don’t want to influence it. Alright so that’s kinda cool. Let’s move on we’re gonna quickly throw a different set together and I’m gonna do a horizontal
shot in my 14 by 22 format. (high energy music)

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