Food shooting: Lighting and other rules for food/cooking

N

natums

Well-known member
I'm DPing a pilot 'proof-of-concept' sizzle reel for a cooking competition style show. I am meeting with the producer and director next week about the details including the stage and other production details.

But I have never shot food before, I have always heard that it has its own set of rules for making it appear more appealing. Any tips on the food aspect? Luckily, I don't think the emphasis is on the food as much as it's on the competition but I just don't want to make any rookie food-shot mistakes.

I assume a large amount of it has to do with lighting so I posted in the lighting section but any other adjustments in shooting style outside of lighting is welcome.


PS. I have a couple APS-C sensor Canon DSLRs and an XL-1 to shoot with. Unsure of lighting and other equipment until I meet with producer.
 
Apparently the food loves the soft backlight. That's the only thing I've heard...unfortunately I've done a lot of lighting, but not much with food. Would love to hear if there are any pros with this around and what their suggestions are.
 
makes sense...

please any pros or amateurs that have hands on experience shooting food. Even if you don't know the right way, mentioning something that DIDNT work can even be greatly helpful. :)
 
I do shoot food often. We use big lights (5k or Baby 10k) placed 3/4 back and high or overhead, depending on product. Think of this as almost your key. Strange I know. You're thinking tons of light but we pass it through two layers of heavy diffusion, on 4X4 frames, several feet apart. By the time it hits the table it is a very beautiful soft light. Now, from the side and slightly to the front we use a 2k or 5k, once again, diffused but this time through only one layer of 4X4 diffusion. From the opposite side of this light I will use a beadboard fill.

Then take Dedo's or snooted Inkies and highlight if needed.
 
phudsontx said:
I do shoot food often. We use big lights (5k or Baby 10k) placed 3/4 back and high or overhead, depending on product. Think of this as almost your key. Strange I know. You're thinking tons of light but we pass it through two layers of heavy diffusion, on 4X4 frames, several feet apart. By the time it hits the table it is a very beautiful soft light. Now, from the side and slightly to the front we use a 2k or 5k, once again, diffused but this time through only one layer of 4X4 diffusion. From the opposite side of this light I will use a beadboard fill.

Then take Dedo's or snooted Inkies and highlight if needed.
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Ah, thank you. Always great to hear from an expert. Sounds really good.
 
here is a page of various food pics i put together for a pitch (not my pics):
http://patrykrebisz.com/food/food_all.html

notice that some foods look better when looking straight down while some when looking down into the distance. also notice that most food is monochromatic so it's up to the surrounding art direction to add complementary colors to it.
 
good tip with the coloring, will have to ask about the set styling. Great tips guys! Thanks a bunch!
 
I'm a foodie and watch the Food Network a lot. I think your ability to affect the set design and food styling will be limited. This isn't going to be a studio shoot for a cover or a commercial where the food is the star. From time to time they show the whole set on the competitions including the lighting. Indoors they use lots of 4 bank 4' Kinos in practical locations and of course a grid full of the usual stuff in studios. I think they are daylight balanced in the practical locations. Outdoors they use overheads sometimes but mostly a bunch of HMIs. The lighting is high key and flat. Very sourcey and lit.
 
Paul's advice is right on the money. Did cooking shows based in studio and on location for PBS and others for more than 15 years. Big lights, lots of diffusion and pairs of 2Ks often with custom built diffusion frames with duvateen flagging down from the frames on all sides about 2 to 3 feet creating a large softbox. This was suspended above the food work area and allowed set and talent lighting to be separate. Food styling is key with great props. Shot wise the usual moves on the food, dolly and jib stuff. Audio wise: sizzle is great and food machines will kill ya or at least the audio person. Ventilation needs to work well too.
Good luck!
 
BrianMurphy said:
Paul's advice is right on the money. Did cooking shows based in studio and on location for PBS and others for more than 15 years. Big lights, lots of diffusion and pairs of 2Ks often with custom built diffusion frames with duvateen flagging down from the frames on all sides about 2 to 3 feet creating a large softbox. This was suspended above the food work area and allowed set and talent lighting to be separate. Food styling is key with great props. Shot wise the usual moves on the food, dolly and jib stuff. Audio wise: sizzle is great and food machines will kill ya or at least the audio person. Ventilation needs to work well too.
Good luck!
Click to expand...
Good info guys. Experience counts.
 
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