The Foodie bugle – Interview with Food Photographer Gareth Morgans

I recently interviewed food photographer Gareth Morgans for The Foodie Bugle on his views on the changing face of food photography and his thoughts about the future of the medium. Here’s a few snaps of the article in print. You can buy Reveille 2 of the Foodie Bugle here to see the article in full (as well as many other fantastic pieces of food writing!)

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A Pilgrims Feast – Anna Williams

I recently came across this blog Great Food Photos which has some really beautiful food photography. One of the interviews caught my eye as the photographer, Anna Williams, uses the ‘Chiaroscuro’ style I’ve mentioned before in a previous blog post.

Anna Williams ‘A Pilgrims Feast’, 2012

‘The Pilgrims Feast’ series was recently nominated for the US National Magazine Awards. The images were shot for Martha Stewart Living magazine last November. The opening image on Anna Williams’ website really reminds me of George Lance’s ‘Fruit (The Autumn Gift)

George Lance, Fruit (‘The Autumn Gift’), 1834


Richard Kolker’s Digital Modelling Photography – Hyper Real Food

When looking at the history of food photography, sometimes it’s interesting to consider it’s future. Richard Kolker is a ‘synthetic photographer’ who records “virtual light interacting with virtual geometry using a virtual camera”.

Influenced by Juan Sanchez Cotan’s “Quince, Cabbage, Melon and Cucumber”, painted in 1602, Kolker uses various 3D modelling and rendering software packages such as Maxon Cinema 4D and Maxwell Render to create his images. Elements of the lighting and careful composition in Cotan’s painting are carried across to Kolker’s work. For him, his virtual camera is much the same as a physical camera, as is his work flow; he still builds a set, lights the scene then photographs it. Even though the images are created using a computer, the same controls and conventions, like aperture/depth of field and exposure are very much present. Photoshop is used, but only for colour correction and contrast rather than any drastic alterations.

“Around the Bodegon – after Juan Sanchez Cotan 1602”, 2012

Is this the future of food photography? With CGI becoming more popular, will this combination of 3D modelling and rendering eventually end up moving it’s way into food photography? It’s something to think about… You can read more about how Kolker creates his imagery in this article here


Current Food photography styles and trends

Food photography now has a much more creative outlet, much like fashion photography and significantly relates to today’s lifestyles.
Overall, my research for my dissertation and this blog has allowed me to conclude that while there is not a specific comprehensive history on food photography, there is still a substantial amount written about it, reflected by increased consumer interest in food and diet in today’s Western, consumerist society. While the genre has been constrained to commercial realms, we have seen that it is slowly becoming credible in the art world with notable exhibitions and highly creative features appearing in popular food magazines. I hope that there will be a continuation of this in the future as the subject is so prolific with possibilities that it is fruitless to stop now. 
I’ve already stumbled across some great writing on current food photography styles and trends on this great blog called Desserts for Breakfast. Using a (rather delicious-looking) chocolate cake, Anita Chu and Stephanie Shih look at different styles in contemporary food photography, across the whole spectrum; from product/packaging to various editorial styles used in a wide range of publications – mirroring the moodier photography style used in ‘Food and Travel’ to the more bright and propped seen in ‘BBC Good Food’

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 


What to Cook and How to Cook it – Jane Hornby & Angela Moore

Another example of a cookbook that focuses on ingredients is What to Cook and How to Cook it by Jane Hornby. Images are photographed in the same bird’s eye view style. Arguably, this appeals to the consumer more because it is their view as if looking down at the dish before sitting down at the dinner table.
Angela Moore, Cinnamon Rolls, in what to cook and how to cook it, 2010.
Following the photographs at each stage of the recipe, the reader sees how their food should look at each stage. A focus on ingredients has grown; they are being photographed alongside recipes in magazines and cookbooks. Perhaps people in the UK cook less, but read more cookbooks and watch more cooking television shows. There’s always a place for beautiful cookbooks, whether the recipes are cooked or not. (Dillon, S. 2010 [radio]) The reader still consumes the cookbook while not necessarily cooking from it. Food photography is being noticed for the artistic visions in the images – not just because people want to eat.

Waitrose Food Illustrated

In recent years, consumer interest in food has rocketed. With hundreds of food blogs, a wide range of food magazines and television shows, the connection between food and art has become much stronger. Food photography is not just for advertising anymore. 

In the March 2009 issue of Waitrose Food Illustrated, a number of features examine the relationship between art and food. Photography and style director, Tabitha Hawkins celebrated the relationship between food and art by commissioning photographers to produce images in the style of paintings in a 10-page feature and cover story. One image by Jonathan Gregson shows a late 18th century still life, taking direct influence from Chardin.

Jonathan Gregson, in Waitrose Food Illustrated, 2009
More recently, Waitrose Kitchen produced a beautiful food photo story, photographed by Gus Filgate. Tabitha Hawkins pushed for the idea to be used in the magazine, as the images are dark – unlike the usual style of the other photographs. The beautiful images could be framed and mounted for exhibition in a gallery.
Gus Filgate, in Waitrose Kitchen, 2011
Images from the March 2009 issue, along with 16 other Waitrose Food Illustrated photographs from previous years, were exhibited in the Waitrose Food Illustrated’s ‘Food and Art’ Exhibition, which ran for 2 months in the Café and Trafalgar Room at the National Gallery. The exhibition celebrated 10 years of the magazine and tied in with the launch of The National Cookbook, compiled of recipes from the National Dining Rooms. This event highlights the significant connection between the commercial and art world, something that hadn’t linked together before in food photography. Food photography’s purpose here is not only for commercial means but also celebrated as an art form.

Jason Hindley and Knorr Stock Pots


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.


Chef and Photographer; How this partnership has influenced food photography

Partnerships of chef and photographer were key in changing how food was photographed, moving away from food porn. While food stylists created a dish for longevity on a shoot, chefs like Jean Louis Palladin created dishes to be eaten. Taking photographs was secondary. Photographer Robert Freson (Plimmer, C. 1988, p48) celebrates this style of shooting “creativity is the chef’s province, the photographer merely records it”. Preferring ingredients in natural state, he feels that food shouldn’t be interfered with too much.  

Image sourced from Great Food Photos

This partnership is also seen between Jamie Oliver & David Loftus, who regularly shoots for Jamiemagazine and shot many of Jamie’s cookbooks before the magazine launched in 2009. Significantly, food publishing has maintained the same template for decades. Typically magazines show large photographs of food on glossy paper. Jamie magazine instead prints on unconventional matt paper, mixing travel reportage with food. “It looks accessible but aspirational at the same time, quite a feat” (Leslie, J. 2010, p54). This view of real food and the chef/photographer partnership promotes more natural-looking food.


Food Porn

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.

Still from “Not just food, M&S; Food”, RKCR/Y&R;, Launched August 2004

‘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.)


Food photography in the 90’s – Overuse of Shallow DOF

By the late 1990’s, the Donna Hay style was being used excessively, with little of the food in focus. Food publications were “going berserk…People were using shallow depth of field that you couldn’t see what the food was” (1. David Munns in Smyth, D. 2007, p15). The images were reminiscent of still life paintings as shallow depth of field gave food products a soft, natural look. Dickerman (2006, [online]) noted, “Selective focus is particularly handy for creating visual interest in blobby food like casseroles” But like David Munns, she too saw that “Eventually, it seemed that nofood was photographed without selective focus”. New Zealand photographer Ian Batchelor was an early adopter of short focus. Upon reflection, he too thought the technique was used and abused. For him, the thinking behind it was to draw attention to the important aspect of the photograph separating and framing it with the bokeh effect. He had seen this used to great effect and also the opposite where the effect has been used without any understanding and a quite random part of the image has been in focus. Yet this style influenced cookbooks like MarieClaire Kitchen, published in 2004. Photographs by Petrina Tinslay create not only a beautiful cookbook but also a giant food picture book. Over half the pages display a full-page image spread and the images much larger than those in magazines.
Petrina Tinslay, in Marie Claire Kitchen, 2004
Since then, the extreme receded slightly. Olivemagazine, launched in 2003, tended not to use it; ‘It’s not in fashion but also we want to show all of the food because we tend to be illustrating recipes.’ (2. Hayley Ward, in Smyth, D, 2007, p 15) The aesthetics of the style remain; daylit images are still much ‘in vogue’. Instead, Olivemagazine uses shallow depth of field to suggest narrative to the image. This cover image shows the front dessert in focus, while the back one is not, suggesting a dessert course for two, although the viewer will only actually eat one. The shallow depth of field allows text to be incorporated flawlessly.
Olive, Issue 1, December 2003
(1. & 2.  – sourced from Diane Smyth, (2007) “Food Rules”, British Journal of Photography, Vol. 154, July 11, pp 14-16.)