Whether you are a professional food photographer, recipe photographer, or a business hobbyist? Take a shot before eating to send a circle of friends? , how to shoot the food out of the tantalizing flavor are a university question. Below I have organized some food photography lighting works for you, come and enjoy it!

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How to Light a Food Photography Session 5 Professional Photography Lighting Tips

1.Introductory Lighting Tool: Natural Light

Natural light is the most basic and commonly used light source for photographers. It is sometimes bright and strong, sometimes dull and soft; the tone is sometimes warm, sometimes cold; sometimes straight irradiation, can create a long shadow, but also sometimes by the cloud cover occurs diffuse, will not leave any shadow. As the sun rises in the east and sets in the west, natural light is able to do the main light, side light, backlight and contour light. Natural light looks very natural and is always free.

Cheyenne Ellis is a professional photographer from Los Angeles who specializes in celebrity portraits and advertising work. The photo above is from a series she shot for famous actress Halle? Berry. He used only natural light and a reflector for this portrait. The series has been featured in magazines such as US Weekly, Harper's Bazaar and Shape. You might think that for such a high-profile project, photographer Ellis would surely not go in with just a camera and a $47 reflector.

But natural light and reflectors are photographer Ellis's favorite combination. The work shown on her personal website is overflowing with natural light.? I love the simplicity and flexibility of the reflector and the style it brings," she says. , she says. I rarely point the reflector directly at the subject because the light is too strong. Instead, I will feather the light. feathering? and make sure there are nice reflections in the subject's eyes. The beach in this photo is like a giant fill light panel that helps a lot.?

Cheyenne Ellis devised a clever way to be able to use a 20-inch silver/white reflector without an assistant: she sits down, puts the reflector in her lap, and adjusts the direction of the reflector with her small arm as she shoots.

2. A blend of daylight and flash

?Dyad Photography? is a photography studio in Brooklyn, New York City, formed by photographers Justin and Colleen Picciotti to shoot commercial and fine art. The duo had photographed a private project featuring food, which they took in a surprising direction by starting out by shooting symbolic images. The works appear at first glance to have been shot using the stop-motion technique ? dynamic food? that don't look like traditional display images. But if you look closely, it dawns on you. Some of the works you see are shocking, some are hilarious. But none of the work on food emphasizes the three-dimensionality of the objects, which is what other photographers try to highlight in their own work.

The work is a thousand times, if not anticlimactic, two-dimensional images. How did photographer Piciottis shoot them? As with most studio work, lighting plays a crucial role. The tables, chairs, floors and cutlery beneath the elaborate spaghetti and meatballs in the piece above are actually printed photographs, not real objects. To trick the eye and make the scene look like a one-shot photo, the ? room amenities? and spaghetti lighting, the color temperature and density had to be consistent. That wasn't easy, because the light for the tabletop came from the window, while the light for the pasta came from the flash.

But the work's lighting also allows the viewer to notice that these are not your usual commercial images. For example, photographer Picciottis deliberately lit the pasta from the opposite direction of the light falling on the tabletop, explaining: ? We chose to combine light sources from different directions, which emphasizes the control of perspective.?

To bring out the pasta against the cooler-toned background, the photographers chose a light that was slightly warmer in tone than the background light.

The photographers spent hours shooting and printing photos of the tabletop, using white/silver reflectors and black cloth to keep the light levels consistent across the tabletop, chairs, and floor. For the shoot, they hung a Hasselblad 501 camera mounted on a Leaf Aptus 75 digital back above the table and used a 50mm f/4 Carl Zeiss lens. Zeiss lens.

The tabletop shots were printed on an Epson Stylus Photo R2400 printer. Photographer Piciottis chose matte paper to avoid reflections on the paper in the second shot.

After setting up the pasta, the photographer lit the entire scene with a radome-mounted flash, which is a broad, soft light that mimics the light coming in from a window.? One of the tricks of the trade when photographing food with light is to use a more directional light source that can capture the different textures of each element,?Piciottis says.? The radome allowed us to soften the light without weakening the shadows, and we also placed white and gray filler panels around the pasta to further intensify the shadows and highlight the direction of the light.?

The use of the radome also enhances the spatiality of the shavings of ricotta in the image, which is the most dramatic sign that sets this work apart from traditional food photography. Another advantage of using a radome is that lowering the angle of the radome avoids reflections on the paper.

The analog stop-motion photography was lit by the Picciottis using natural light from a window to illuminate the tabletop, and by a Baftu Acute2 2400WS studio light ($3,245) with a Baftu white radome ($352) to light the pasta. The studio light uses a PocketWizard wireless trigger ($351) to synchronize the flash. White and gray filler panels help add density to the shadows, intensifying them and highlighting the direction of the light.

3. Professional Location Photographers Move the Studio Outdoors

Lighting for location shoots can be one of the toughest challenges for photographers. Photographers must carry lights, bring their own or find power sources, and seamlessly combine ambient and artificial light.

For these reasons, New York photographer Laura Barisonzi began this portrait of a bodybuilding model with only natural light and reflectors, says the professional sports and lifestyle photographer, ? It's a lot simpler than setting up lights and having to carry a power supply.?

But clouds rolled in the sky and the ambient light alternated between direct and diffused sunlight. The lighting strategy the photographer used was to use two studio lights to hold down the sunlight so she didn't have to be concerned about whether or not the sun was shining directly on the models.

? For me, the trick to lighting a location shoot is to make sure there's plenty of power,? she says. She doesn't like to use batteries because the charging time between flashes is too long.? If I use battery power, I'll rush through the shot because I'm always worried about running out of batteries, so I usually use a generator to power the flash?

To keep the venue tidy, she also likes to use PocketWizard wireless triggers.

Lights that simulate sunlight have to be positioned high, hard, and bright, and the light also has to shine down at about a 45-degree angle. When the head is positioned too high, the light stand can easily be blown over by the wind, so whenever there's a wind, Barisonzi uses sandbags to add weight to the light stand, and also has an assistant hold the higher light stand on the left side of the light stand.

Laura Barisonzi used two AlienBees B1600 studio lights ($360 each), a GS1 honeycomb, and a Honda EU3200i generator to power the shoot. The camera used by the photographer was a Nikon D3 with a 24-70mm f/2.8 lens.

4. Photographing jewelry, where brilliance is everything

Lighting is most difficult when photographing reflective objects, with photographing jewelry being the most time-consuming. The biggest challenge is to make an inanimate object glow with light and life.

Photographers David Barowsky and Steven Deviliss face this challenge every day as members of Antfarm Photography in New York City's Photo District. studio.　We look at every aspect of jewelry. We look at every aspect of jewelry, especially diamonds, because they are expensive,?Barowsky said. The Faraone Mennella 18-karat gold bracelet in this photo is studded with very fine white, brown and champagne diamonds.

? For this photo, the effect was created entirely by lighting, with little post-editing. Of course, we also needed a very sharp macro lens to capture the subtle variations in the diamond's facets and colors.?

Photographing jewelry with light must be one light, one tone, and the light on the cut surface and surface of the jewelry should also be done on one side, one tone. Some jewelry requires the use of more than 10 lights and reflectors at the same time when shooting.? You have to keep adjusting the light on one surface until it is adjusted,?Barowsky explains.? Keep the lighting arrangement tight and don't let ambient light leak in to affect the color temperature.?

Reflected light from the background can cause dead black areas in the frame; to avoid this, surround the subject with lights, softeners, and reflectors.

This photo was taken with two 3200WS Brown Unilite-type studio heads. One was placed on each side of the bracelet, a Plexiglas plate was placed in front of the lamp to soften the light, and the bracelet was placed on a reflector painted 925 silver. Thanks to the grids in the heads, the light passes through the Plexiglas and then attenuates again, creating subtle layers of tone on gold.

A Brown Picolite-type flash positioned near the camera position emits a concentrated light that adds shine and sparkle to the diamonds, while a light box set up behind the bracelet both ensures a pristine background and strikes a reflected light on the silver reflectors.

Accurate exposure control is also very important, and to do this the photographer relies on an exposure histogram. While many people who play with photography use histograms to preserve detail in the highlights or shadows of a photo, photographers who shoot jewelry use histograms to monitor the glare of the jewelry and make sure that sparkling parts are not overexposed.? Controlling glare is one of the main challenges when photographing bright, shiny jewelry," Barowsky says.

? One trick to minimizing glare is to gradually increase the histogram reading of the background light to 255, which, if exceeded, can cause unwanted glare. ? The team at Antfarm Photography Studios photographed the two diamond-encrusted gold bracelets using one Brown Picolite-type studio light ($720) retrofitted with a spotter and grill, and two Brown Unilite-type 3200WS heads ($1,510 each) powered by Brown grafit power supplies. The photographer used a Sienna P2 4?5 camera with a Sienna 54h digital back, a Schneider 120mm f/5.6 macro lens, and a shooting aperture of f/32.

5. Keeping it dim under the lights

Effective use of lighting is an important part of advertising photography. The photo above was taken for a 2010 brochure for the Honda CRV minivan and hybrid SUV by Jeff Ludes, an automotive photographer from Los Angeles, who took 4 hours with 3 assistants to take the photo.

The main light for the shoot was Arri tungsten, and the photographer didn't use a Fresnel lens, which is often used in movie camerawork.?

The reason we didn't use a Fresnel lens is that we wanted the light to spill over into the whole photo, like the light from a streetlight," Ludes said.

In fact, the lights that were already on location were an important part of the overall lighting, and all of the backlights that were added were fitted with color-correcting acetate filters, which were used to make sure that the color temperature of the output was consistent with that of the streetlights.

The photographer's ultimate goal was to add color and atmosphere, giving the car an emotional tone ? optimism, youthfulness and an urban mood. But it is also important to use lighting to outline the appearance of the car, to show the shape, lines, color and size of the car. In order to highlight the subject, the photographer chose a brighter light for the car than the warm background, making the blue body more prominent.

The photographer chose to take this photo at dusk, given the blue sky and reflections from the windows.? The difficulty with lighting at dusk is that the lights have to be ready at the crack of dawn, when it's impossible to determine where to place them and what their brightness level should be,?Ludes says.? As the sun is going down, you have to quickly and accurately adjust the final position of the lights and shoot within a small window of time when daylight and light are in perfect balance,? If Ludes had used 2,000 watts of light for the entire scene, he could have ended up with deep black shadows in unlit areas, which would have spoiled the photographer's vision of a vibrant, overflowing street scene, says Ludes, ? We often use low-power 150-watt lights.?

He explained: ? There's a common failure to realize that when it comes to lighting a dark scene, a small, dim light is usually better than a big, bright light, which just creates deep shadows.

Other details of the shot? A water truck drenched the entire street, making those otherwise drab and featureless black surfaces vibrant and shiny. The photographer's team even? built? a sidewalk in the foreground that hides the fact that the cars are actually parked in the middle of the street (the subject vehicle is actually parked in front of one of the travel lanes).

The final photo is a composite of eight different shots, each of which was composed, lit, and selected for specific elements. For example, separate exposures were made for the side, back, and tires of the car.? If the light hitting the fenders was right, there would be deep shadows at the wheel grooves, so it was necessary to expose the tires separately, ? says Ludes.

And a piece of work was born!