This ‘Chiaroscuro’ style image, the clear contrast between light and dark, highlights the strong influence from still life paintings like Caravaggio and the Dutch Masters.
You can read more about their blog post here
And you can read more about the team behind it and their newly launched magazine ‘Sated’ here
A while ago I spotted this Knorr Stock Pot ad shot by photographer Jason Hindley,in the style of a 1970’s cookbook. I think this is a fairly accurate interpretation of some of the images of the time. Here’s a link to the original blogpost on Jason Hindley’s blog
The image reminded me of a blog I’ve been following; ‘The Way We Ate‘. The blog is written by Noah Fecks and Paul Wagtouicz, two photographers from New York, who each week re-create and photograph recipes from their collection of old Gourmet magazines. The blog mixes their own photographs with old covers and advertisements from the magazine like the image here.
It’s great to see how contemporary photographers are influenced by this1970’s style imagery.
Food photography shifted in 2004 when Marks and Spencer‘s memorable television campaign pushed ‘food porn’ into the spotlight. No longer were we seeing shots with shallow depth of field and clean white backgrounds; movement and texture became the key aspects of interest. Seductive voice-overs accompanied oozing, chocolate puddings, drizzled sauces and meat being craved. Juices trickled in slow motion, intensifying the portrayal.
‘Food porn’ had been used in food photography since the late 1980’s but was coined as “Gastroporn” by Michael Boys, a food and female nude photographer. His term described sensually provocative and intentionally alluring imagery in cookery books. The imagery appeals to “basic carnal desires” (Plimmer, C. 1988, p20) Food writer Nigel Slater recalls a shoot for French Marie Claire magazine, where chef, Jean-Louis created a dish of pears in red wine. The photograph captured a trail of sauce dribbling down the side of a pear. (Dillon, S. 2010 [radio]). Such images were so popular with “advertisements telling us that we can ‘indulge’ in eating things that we ‘shouldn’t’. The cunning and powerful allure of food reaches us covertly” (Kuehn, G. in ed Allhoff et al, 2007, p166). These tempting, visual stimuli of erotically suggestive food greatly increased the popularity of food. Jane Lerner remarks, food porn “turns something relatively mundane into a fetish, as if we’re seeking an idealized version of food that’s prettier, sexier and more outrageous than what we’re going to get at home.” (2009, p20). Typing ‘Food porn’ into Google today returns 17,300,000 (744,000 in 2010) results. Launched in January 2007, Tastespotting, an online archive of user-submitted images compiled by a team of editors describes itself as “our obsessive, compulsive collection of eye-catching images that link to something deliciously interesting on the other side.”(2007, [online]) Similarly, websites Foodgawker, (launched in June 2008), Recipes2Share and Open Source Food fill the demands for mouth-watering images. Photographer Tim Hill shared this desire to stir viewers’ senses. “If you look at a shot and your mouth waters, I’ve won. When you eat the food you can see it, smell it, taste it, touch it. I can’t show all that. I can only show what it looks like. I’m trying to make the image as graphic and interesting as possible so that it says ‘Eat me’” (Hill, T. in Smyth, D. 2007, p15) 1.
Around the same time, came a contrasting trend of much more natural-looking food that wasn’t so pornographic. There were two very different styles of photography but there is always going to be room for both, largely due to the audience who buy food magazines. If you take a look at images in what was formerly Waitrose Food Illustrated (now Waitrose Kitchen) and compare them to FamilyCircle or Good Housekeeping it’s like viewing porn magazines to needle patterns.
(1 sourced from Diane Smyth, (2007) “Food Rules”, British Journal of Photography, Vol. 154, July 11, pp 14-16.)
|Bradley Olman, Dietary Ice cream, ca 1988|
Bradley Olman shot this image of a table laden with ice cream for It’s Me, an American advertorial magazine available in Lane Bryant department stores for plus-size women. The article listed a number of recipes for dietary ice cream however the dishes of ‘ice cream’ were in fact “artfully coloured flour-and-water fake”. All the other food in the set up was real. Olman said, “To make it all look thick and rich enough took forever. We had to get the right texture and put the ridges in.” (Plimmer, C. 1988, p104) He worked on the set with two assistants, a food stylist and the magazine editor to achieve this aesthetically ‘perfect’ image. Some may argue that this is misleading to a consumer but the aim was always to strive for aesthetic perfection and not reality. When looking at images of food, it has to be taken into account the amount of time and effort that is put in to make the food last long enough for the photographer to capture it in the best possible light and setting. Delores Custer, who started out as a food stylist in the 1970’s comments “food dies…it wilts, it cracks, it melts, it changes colour. So food stylists have to work to each element’s particular life-span, keeping everything alive until shoot time, even resuscitating it to make it look beautiful for the camera.” (Goldwasser, A. 1998, p58, (1)) She adds “visually, the thing that appeals is consistency in arrangement”. It is this consistency in arrangement that forces us to liken such food images to still life paintings of the 17th and 18th century.
|Cover of Martha Stewart’s 1982 ‘Entertaining’|
There were fundamental changes in food photography in the late 1970’s and early 1980’s. Japanese technological advances modernized colour printing, providing better clarity of colour in images. The improved precision of the colours used to make the printing plates changed the possibilities of reproducing food images. More magenta, cyan and yellow meant that the amount of black ink usually used was reduced, making the colours brighter and punchier. The technique was so significant that in 1982, homemaking guru Martha Stewart “insisted not only on Japanese printing, but also on photographs of every dish for her first book, Entertaining, because as a caterer, she knew that the look of the food was what connected imaginations to the sense of taste” (Shakely, L. n.d. [online])
You can see more images from inside of the 1982 edition of ‘Entertaining’ here