Whether it is professional food photography, recipe photography, or a business hobby? Take a picture before eating and post it on Moments? How to take delicious food with an attractive taste is a big question. Below I have compiled some food photography lighting works for everyone, let’s enjoy them together! Food photography lighting_Food photography lighting works

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Food Photography Lighting _Food Photography Lighting Work 5 How to light food photography? 5 professional photography lighting skills

1. Getting started with lighting tools: natural light

Natural light is the most basic and most commonly used light source for photographers. Sometimes it is bright and intense, sometimes dim and soft; sometimes the tone is warm, sometimes cold; sometimes it shines straight and can create long shadows, and sometimes it is blocked by clouds and diffused, leaving no shadow. As the sun rises in the east and sets in the west, natural light can be used as key 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 shooting celebrity portraits and advertising works. The photo above is part of a series she shot of the famous actress Halle Berry. When taking this portrait, he used only natural light and reflectors. This series of works has been published in magazines such as "US Weekly", "Harper's Bazaar" and "Shape". You'd think that on such a high-profile project, photographer Ellis wouldn't just be shooting with a camera and a $47 reflector.

However, natural light and reflectors are photographer Ellis’s favorite combination. The work displayed on her website is filled with natural light. ?I love the simplicity and flexibility of the reflector, as well as the style it brings,? she said. ?I rarely point the reflector directly at the subject because the light is too strong. Instead, I'll feather the light to make sure there's a nice reflection in the subject's eyes. The beach in this photo acts like a giant fill light panel, which helps a lot. ?

Cheyenne Ellis devised an ingenious way to use a 20-inch silver/white reflector without the need for an assistant: She sat down, placed the reflector on her lap, and shot while Use your forearm to adjust the direction of the reflector.

2. The fusion of daylight and flash

?Dyad Photography? is a photography studio located in Brooklyn, New York City. It was established by photographers Justin and Colleen Picciotti. It mainly shoots commercial and works of art. The two had been working on a personal project focusing on food, which they took in surprising directions by starting with symbolic images. At first glance, these works are shot using stop-motion techniques to capture "dynamic food" and do not look like traditional display images. But if you look closely, it suddenly dawns on you. Some of the work you see is shocking, some hilarious. But none of these works about food emphasize the three-dimensionality of the objects, which is what other photographers try to highlight in their work.

These works are authentic, even unconventional, two-dimensional images. How did photographer Piciottis shoot it? As with most studio work, lighting plays a crucial role. The table, chairs, floor, and cutlery underneath the intricately crafted spaghetti and meatballs in the piece above are actually printed photos, not the real thing. To deceive the eye and make the scene look like a photo taken in one take, the color temperature and density must be consistent in both the room fixtures and the pasta light. This is not easy because the light for the table top comes from the window and the light for the pasta comes from the flash.

However, the lighting used in the work also makes viewers notice that these are not ordinary commercial images. For example, photographer Picciottis deliberately lit the noodles from the opposite direction of the light falling on the table. He explained: "We chose to combine light sources from different directions, which can highlight the control of perspective." ?

In order to highlight the pasta in the cooler background, the photographers chose lighting that is slightly warmer than the background light.

The photographers spent hours taking 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. When shooting, they hung a Hasselblad 501 camera equipped with a Leto Aptus75 digital back above the table and used a 50mm f/4 Carl Zeiss lens.

The desktop photos taken were printed with an Epson Stylus Photo R2400 printer. Photographer Piciottis chose matte paper to avoid reflections on the photo paper during secondary photography.

After arranging the pasta, the photographer used a flash mounted with a radome to illuminate the entire scene. This kind of light is broad and soft, which can simulate the light coming in from the window. ?One tip for using light when photographing food is to use a more directional light source that will 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 fill panels around the pasta to further enhance the shadows and highlight the direction of the light. ?

The use of radome also enhances the sense of space of the mozzarella crumbs in the picture, which is also the most dramatic sign that distinguishes this work from traditional food photography. Another benefit of using a radome is that lowering the angle of the radome avoids reflections on the photo paper.

To light this simulated stop-motion photograph, Picciottis used natural light from a window to illuminate his desk, using a Baofoto Acute2 2400WS studio light ($3,245) and a Baofoto white radome (352 USD) to lighten the pasta. The studio light uses a PocketWizard wireless trigger ($351) to synchronize the flash. White and gray fill lights help increase the density of shadows, intensifying them and highlighting the direction of light.

3. Professional location photographers move their studios outdoors

Lighting for location shooting may be one of the most serious challenges for photographers. Photographers must carry lights, bring or source their own power source, and seamlessly combine ambient and artificial light.

For the above reasons, New York photographer Laura Barisonzi only planned to use natural light and reflectors when shooting this portrait of a fit model. The professional sports and lifestyle photographer said, "This is better than setting up a portrait." It’s much easier to bring lights and power supplies. ?

But there are clouds rolling in the sky, and the ambient light alternates between direct and diffuse sunlight. The lighting strategy the photographer used was to use two studio lights to suppress the sunlight so she didn't have to worry about whether it was shining directly on the model.

For me, the trick with lighting on location is ensuring there’s enough power, she said. She doesn't like using batteries because the charging time between flashes is too long. ?If it's battery powered, I'm in a hurry to finish shooting because I'm always worried about running out of batteries, so I usually use a generator to power the flash?

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

The light that simulates sunlight must be high in position, hard in texture, and bright, and the light must shine downward at an angle of about 45 degrees. If the position of the lamp head is too high, the lamp stand will be easily blown over by the wind. Therefore, whenever there is wind, Barisonzi will use sandbags to increase the weight of the lamp stand, and will also ask assistants to hold the taller lamp stand on the left side of the lamp stand.

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

4. When photographing jewelry, brilliance is everything.

Lighting is the most difficult when photographing reflective objects, and photographing jewelry is the most time-consuming. The biggest challenge is to imbue inanimate objects with pulsing light and the brilliance of life.

Photographers David Barowsky and Steven Deviliss, members of Antfarm Photography, a studio in New York City's Photo District, face this challenge every day. "We focus on every aspect of the jewelry, especially diamonds because they are expensive," Barowsky said. The Faraone Mennella 18K gold bracelet in the photo is studded with white, brown and champagne diamonds in very good condition.

?For this photo, all the effects were created by lighting, and almost no post-editing was done. Of course, we also need a very sharp macro lens to capture the subtle changes in the cut surface and color of the diamond. ?

When photographing jewelry, the light must be adjusted one by one. The light on the cutting surface and surface of the jewelry must also be adjusted one by one. 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 a surface until you get it right,? Barowsky explains. ?Arrange the lights more compactly and don’t let ambient light leak in and affect the color temperature. ?

The reflected light from the background may cause a dead black area in the picture. To avoid this, lights, diffusers and reflectors should be placed around the subject.

This photo was taken using two 3200WS Brown Unilite studio light heads. One is placed on each side of the bracelet, a plexiglass plate is placed in front of the lamp to provide soft light, and the bracelet is placed on a reflective sheet painted with 925 silver paint.

Because the lamp head is equipped with a grid, the light passes through the plexiglass and then attenuates again, thus creating subtle tonal gradations in the gold.

The Brown Picolite flash placed near the camera can emit concentrated light, which can increase the luster and sparkle of diamonds. At the same time, the light box set behind the bracelet can ensure the purity of the background and can also be used to print on the silver reflective sheet. reflected light.

Accurate exposure control is also very important. To achieve this, photographers rely on the exposure histogram. Many photographers use histograms to preserve the details of highlights or shadows in photos. Photographers who shoot jewelry use histograms to monitor the glare of jewelry to ensure that the flashing parts are not overexposed. ?Controlling glare is one of the main challenges when photographing bright, dazzling jewelry,? Barowsky said.

One trick to reduce glare is to gradually increase the histogram reading of the background light to 255. If it exceeds 255, unnecessary glare will appear. ?The team at Antfarm Photography Studio shot these two diamond-encrusted gold bracelets using a Brown Picolite studio light with a condenser and grid ($720), and two Brown Unilite 3200WS heads (each $1,510), powered by Brown Grafit power supply. The photographer used a Xianna P2 4.5 camera, equipped with a Xianna 54h digital back, a Schneider 120mm f/5.6 macro lens, and the shooting aperture was f/32.

5. Keep it dim under the light

Effective use of light is an important part of advertising photography. The photo above was taken for the Honda CRV minivan and hybrid SUV's 2010 brochure. Jeff Ludes, an automotive photographer from Los Angeles, and three assistants took the photo for four hours.

The main light during the shooting was Arri tungsten lamp, and the photographer did not use the Fresnel lens commonly used in film photography. "The reason we didn't use a Fresnel lens was because we wanted the light to flood the entire photo, like the light from a streetlight," Ludes said.

In fact, the existing lights on site are also an important part of the entire lighting arrangement. All background lights added later are equipped with acetate filters for color correction to ensure the color temperature of the output light. Consistent with street lights.

The ultimate goal of the photographer is to add color and atmosphere, giving the car an emotional tone? Optimism, youth and urban feeling. But it’s also important to use lights to outline the car’s appearance, showing its shape, lines, color and size. In order to highlight the subject, the photographer chose a brighter light than the warm background for the car, making the blue car body more prominent.

The photographer chose to take this photo at dusk due to the blue sky and window reflections. ?The difficulty with using lights at dusk is that the lights need to be ready at dawn, and it is impossible to determine the placement and brightness level of the lights at this time,?Ludes said. ?When the sun is setting, you have to quickly and accurately adjust the final position of the light and shoot within a small window of time when daylight and lighting are perfectly balanced. ?If Ludes had used 2000 watt lights throughout the site, he would have ended up with deep black shadows in areas not reached by the lights, which would have destroyed the photographer's idea of ??a vibrant, light-filled street scene. "We often use 150-watt low-power lamps," Ludes said. ?

He explained: ?Everyone generally does not notice that when using light in dim scenes, small and dark lights are usually more suitable than large and bright lights. Too bright lights will only cause deep darkness. shadow. ?

Other shooting details? A water truck wetted the entire street, making the otherwise dark and featureless black surfaces vibrant and full of luster. The photographer's team even constructed a sidewalk in the foreground to hide the fact that the vehicle was actually parked in the middle of the road (the vehicle being photographed was actually parked in front of a lane).

The final photo is a composite of 8 different photos, each composed, lit and selected for specific elements. For example, expose the sides, rear and tires of the car separately. ?With the right lighting on the fenders, there will be deep shadows in the wheel wells, so a separate exposure of the tires is necessary, ?Ludes said.

A piece of work is born!