2 Awesome Lighting Tricks for Food Photography

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Another thing with these techniques is that they are not obvious they’re not something a lot of people would actually notice specifically but the impact they make What’s shakin bacon on Joni Simon walking to my studio this is where I do food photography and the goal here is to grow your food photography skills so you can feel confident behind the camera and today we’re continuing on in the discussion about white as we have been doing all month long as a part of the bike shop book club going through a light science and magic and I hope you’re doing okay getting through this one but today I want to talk about two techniques that are covered in this book that I do all the time in food photography in like I mentioned they’re not necessarily ones that you would go that’s what’s going on there like they’re very nuanced but I have is huge all right so page 90 now last week we talked all about reflections how to manage direct reflections if you got to get caught up to speed the video is linked to right up over here but he talks about how sometimes we want direct reflections in our images in order to communicate a certain quality of the subjects. Let’s do a little side by side comparison and see if you can pick out the difference there got these olives going on here just a run-of-the-mill olives and what I’m going to do I’m not going to change the lighting I’m not going to change settings what I’m going to do is I’m going to change the quality and what’s that going to do well that’s going to take what was diffuse reflection coming up off those olives and turn that into a direct reflection what we call specular highlights it’s giving us that sense that these have a glossy finish to them and it makes it I think a lot more appetizing in a little more dynamic it makes those olives pop in a way that they didn’t previously but now this is something that you can take it you don’t want your food to start to look greasy oily so there is a certain art and nuanced to the application of specular highlights to your food but whenever you have the opportunity and you can make sure that the light is hitting the food in such a way as to bounce back Cruise director reflections I say go for it and then the second technique is is one of my personal favorites I remember the very first time that I suddenly you realize somebody was doing this in a photo and it’s like I got to go do that and here in the book they give a name to it it’s called fall off so fall off is where the light is transitioning from light to dark on a particular surface and where this is especially cool to apply it is on a background why would we want to do this while let’s do a little again side-by-side comparison to her back here with the olives got this little scene set up here will know if we take this concept of fall off and apply it to this image now suddenly we can see how this is a different image now both of these are great images so I’m not going to like this is something you have to do but what you can see when we incorporate the concept of fall off and it creates an additional depth and dimension to our image and one of the things that I absolutely love your sense of atmosphere that we’re not just meet me inside of a studio or set up with two boards and the next to each other that were in the room that has a light hitting it in different kinds of ways and then quality how do I create fall off while in the first thing that I ensure is that my surface from a tabletop whatever I’m shooting on is separated from my background that they’re not right up against one another and then it from there what we want to do is pay attention to how is the light hitting the background now if you’re working with a fake walls like I do here in the studio you can just move those further back so that the light isn’t hitting it directly but if you’re working with fix walls like most people are in fix Windows then you can just be in a position some cardboard in the window or a sheet or curtain so that it’s cutting off the light from that back half then creating that really nice greeting in effect on the wall but for me working with artificial light what I’ll do is I will just pull the light closer to the camera and further away from that background and position it in the way again so that I’m getting kind of darker tones on one part of the wall and later tones on the other creating that really beautiful greeting in effect and creating that death would love is disease your work your images incorporating these techniques and the techniques that we’ve learned this month is a part of the bike shop book club so you can feel free to submit your images via the link below and then obviously some of my favorite to share out in a livestream here on the bike shop next week

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