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!)
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.
‘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)
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.
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
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
|Angela Moore, Cinnamon Rolls, in what to cook and how to cook it, 2010.|
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|
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.
|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 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.)