تويت
تسليط الضوء على الغذاء ..
التأثير البشري ..
كتاب التصوير الفوتوغرافي المغلق
Highlighting food
Most professional food photographers favor large format , sheet film cameras with rising and falling , back and front movements which enable them to control the perspective and the depth of field . None the less , attractive food close - ups can be taken using smaller format cameras especially if the arrangements are kept simple . A spoon or a fork , a sprig of parsley or a slice of fruit will add interest , as well as scale , to a close - up .
Attention must be paid to lighting , so that cold food appears cold , and hot food looks hot . The texture , as well as the tone , of the subject will determine which kind of lighting you use . To light highly reflective subjects , such as cutlery or silverware , use indirect bounced lighting , or light tents ( see p . 152 ) ; use spotlights for matte surfaces ; and back lighting for trans parent or translucent subjects . The problems of lighting glass ( see p . 82 ) also apply to lighting food in clear glass containers . Shiny plastic , metallic or glass surfaces can be dulled by rubbing them with putty , or by spraying them with a matte dulling spray , though this spray may dissolve plastic objects .
Certain prepared foods will only photograph well if the camera and lighting are set up so that the pictures can be taken in the few precious minutes before the color or condition of the food deteriorates . Since ice cream soon melts and hot souffles soon collapse , speed is essen tial . There are , however , several ways in which the life of freshly prepared food can be pro longed . For instance , dry ice packed around the base of a container holding ice cream will help keep it cool ; citric acid applied to cut fruit will prevent a brown coloration developing ; glycer ine painted on sausages will increase their shine ; and carbon dioxide will add gas bubbles to beer or champagne .
Other tricks of the trade include spraying fruit with a water and glycerine mixture to make them appear fresh , substituting aerosol shaving foam for whipped cream , and using crinkled transparent acetate for the ice in iced tea . However , it is more difficult to replace the precise color , viscosity and turbidity of a well known liquid with a substitute . Whatever technique is used for a photograph advertising food , it must look authentic and make the consumer look twice .
Swirling soup I placed a shallow soup dish on a photo jack which I moved up and down to bring the soup into focus . The heated oxtail soup was photographed , moments after cream was stirred into it , by using two Multiblitz Minilite 200 flash heads fitted with small clip - on diffusers . Lens Hasselblad 80mm + 40mm ( 32 + 8 ) extension Mag . on film * 0.5 Mag . on page × 0.8
Assorted nuts V These nuts were taken in a bowl and lit by sunlight which streamed in through the window . Lens Hasselblad 80mm + 32mm extension Mag . on film * 0.4 Mag . on page × 0.7
Back lighting A Thin slices of kiwi fruit and strawberry were arranged on a glass plate and then laid on a piece of glass . This was lit from below by bouncing a diffused Multiblitz Minilite 200 flash off a white curved board as shown on the left . Lens Hasselblad 80mm + 8mm extension Mag . on film × 0.3 Mag . on page x1
Framing a portion ▷ I was tempted to fill the frame with the pink pulp of this watermelon . I decided instead to include a portion of the green rind to set off the pink center , and I lit the melon by available light from a window . Lens 55mm micro - Nikkor Mag . on film x0.4 Mag . on page × 1.2
التأثير البشري ..
كتاب التصوير الفوتوغرافي المغلق
Highlighting food
Most professional food photographers favor large format , sheet film cameras with rising and falling , back and front movements which enable them to control the perspective and the depth of field . None the less , attractive food close - ups can be taken using smaller format cameras especially if the arrangements are kept simple . A spoon or a fork , a sprig of parsley or a slice of fruit will add interest , as well as scale , to a close - up .
Attention must be paid to lighting , so that cold food appears cold , and hot food looks hot . The texture , as well as the tone , of the subject will determine which kind of lighting you use . To light highly reflective subjects , such as cutlery or silverware , use indirect bounced lighting , or light tents ( see p . 152 ) ; use spotlights for matte surfaces ; and back lighting for trans parent or translucent subjects . The problems of lighting glass ( see p . 82 ) also apply to lighting food in clear glass containers . Shiny plastic , metallic or glass surfaces can be dulled by rubbing them with putty , or by spraying them with a matte dulling spray , though this spray may dissolve plastic objects .
Certain prepared foods will only photograph well if the camera and lighting are set up so that the pictures can be taken in the few precious minutes before the color or condition of the food deteriorates . Since ice cream soon melts and hot souffles soon collapse , speed is essen tial . There are , however , several ways in which the life of freshly prepared food can be pro longed . For instance , dry ice packed around the base of a container holding ice cream will help keep it cool ; citric acid applied to cut fruit will prevent a brown coloration developing ; glycer ine painted on sausages will increase their shine ; and carbon dioxide will add gas bubbles to beer or champagne .
Other tricks of the trade include spraying fruit with a water and glycerine mixture to make them appear fresh , substituting aerosol shaving foam for whipped cream , and using crinkled transparent acetate for the ice in iced tea . However , it is more difficult to replace the precise color , viscosity and turbidity of a well known liquid with a substitute . Whatever technique is used for a photograph advertising food , it must look authentic and make the consumer look twice .
Swirling soup I placed a shallow soup dish on a photo jack which I moved up and down to bring the soup into focus . The heated oxtail soup was photographed , moments after cream was stirred into it , by using two Multiblitz Minilite 200 flash heads fitted with small clip - on diffusers . Lens Hasselblad 80mm + 40mm ( 32 + 8 ) extension Mag . on film * 0.5 Mag . on page × 0.8
Assorted nuts V These nuts were taken in a bowl and lit by sunlight which streamed in through the window . Lens Hasselblad 80mm + 32mm extension Mag . on film * 0.4 Mag . on page × 0.7
Back lighting A Thin slices of kiwi fruit and strawberry were arranged on a glass plate and then laid on a piece of glass . This was lit from below by bouncing a diffused Multiblitz Minilite 200 flash off a white curved board as shown on the left . Lens Hasselblad 80mm + 8mm extension Mag . on film × 0.3 Mag . on page x1
Framing a portion ▷ I was tempted to fill the frame with the pink pulp of this watermelon . I decided instead to include a portion of the green rind to set off the pink center , and I lit the melon by available light from a window . Lens 55mm micro - Nikkor Mag . on film x0.4 Mag . on page × 1.2
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