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Why does a food photographer have to know how to shoot everything well? Why do we have to be Photoshop experts? The reason is that food clients have lots of ways to promote their products beyond food shots and we want to shoot it all (and earn all of the money). This client asked me to go to the Javits Center in NYC and shoot Bobby Simmons as he signed autographs at their booth. My assistant and I went in and spent around 2 hours shooting candids of Bobby.
Then before we left for home, we set up a full length portrait studio in a conference room and shot more formal full length portraits of Bobby for our client. It was a fun day, we got to meet and spend time with the NJ Nets new forward and we kept making money. It's a great life and I feel blessed.
This job was different (I guess every one is different).
This job came because a client gave my name to one of his clients and they hired me to shoot this job. Pearl Media does huge advertising displays just like the one above for Fox's new show Fringe. They wanted a lot of people around their display, so we shot during the All Star Parade (see the red carpet?). Even with over one million fans on 6th Avenue in NYC, my 6' tall 19 year old son and I (he watched my back and carried the laptop), got good spots in front of installations on 47th street and 57th street. The sun was hot and the day was great, the people were fun but nobody understood why I was shooting the buildings while everyone else was photographing the old baseball players. It's a nice way to make a living... hanging out on 6th Avenue in New York City on a beautiful day.
It's a strange life for sure. Life seems to travel in cycles. For a while I was just a food shooter, next came a year or two of fashion, and lately it seems to be time for cosmetic still life. I now count three different clients from different agencies (one is Revlon's agency), all who send me cosmetic products to shoot. Hey - it's making money with a camera. What could be better than that?
Bread and butter is a term we use for jobs that don't require too much special lighting and focus ability but help to contribute to the overall profit of a commercial studio. Sometimes it might be packaging for a test, catalog, or coupon. Sometimes it might be a full group of watches or maybe some tools. As I think about it, I guess bread & butter shots are anything that can be set up once, and then multiple products cycled through the set utilizing the same lighting and focus. The per shot price is usually low, but as you shoot through all of the product, the low prices add up to real money. Sometimes bread and butter jobs reward us with a higher day rate than we get from our normal shoot days.
I can remember assisting a photographer in the '70's on a watch job. He set the whole thing up, lighting, set and focus, then I cycled the watches through and exposed the 4X5" film. Aside from the responsibility of the set up, I did all of the work and the photographer made all of the money (except for my small day rate).
I was involved in a similar watch job recently. It reminded me how much things have changed since I began. There was no assistant (just 2 photographers), the shots were stripped out (by me), and the per watch price was less than 30 years ago! Still, we made a terrific day rate, the client was happy, it was easy. and a good friend and I got to play together for a few days.
So there you go: Bread and Butter shots. Commercial photographers would starve without them and they're just a good thing.
I'm not sure if all photographers have a favorite shot, but I do.
This is it.
The food stylist was Alyssa Alia. She is, I think, my favorite food stylist. The client was... Alyssa Alia.
It was sometime in late summer, and Alyssa and I had just finished a full day of shooting beautiful recipes. We had agreed to work on a holiday card for her after that job was done. Alyssa made the mousse, brought the cranberries and the ivy. I provided the glass and the red velvet cloth. That was all we needed.
I always have a clear picture of the day's shot in my mind before I shoot a job. Sometimes it takes a while to make the shot on a set look like the shot in my head. This time it all just fell quickly into place. In less than an hour, the food was prepared, the cranberries were sugared and everything was arranged. I tilted the camera, composed, lit and carefully focused the shot. The shot you see is the shot we saved. You might notice, that the light and focus are working together in this shot to lead your eyes to the mousse itself. That's the product. Well, sort of. I guess Alyssa's awesome talent was the real product for this shot.
Yes, It's still all about light & focus, but sometimes, there are many things trying to draw your attention away from that. Shame, shame...
I am guessing the Manning brothers are rich. I know they are famous. If I had attempted to work magic on light & focus on the day of the shoot, I would have been side-lined by overseeing the 30 clients, managers, and crew that were milling around.
Each one has a question or opinion. What's for breakfast, or lunch? Where should I set up for hair and makeup? Where's the bathroom (they somehow always ask the photographer). Where's the product? Where is the studio? Between the phone and the people on site, there is little time to set up lights. On top of all of that, when you are shooting (photographing) people, famous or otherwise, you need to give them your attention and direct them. Ideally, the creative director speaks to you, and you direct the "stars" as you have been told.
Therefore, even though this was a very expensive studio in NYC, my wise client (Fred Weber from Edge-Design) insisted that we go in the night before (additional rental) to get all set up. We used a lighting I teach at a University class. I blew the background out evenly 1 1/2 stops brighter than the huge Elinchrom Octa-light that we used on the Mannings. Some of the shots had both brothers and the dad, so the Octa-light did a great job giving them all a soft Rembrandt light. The perfectly lit background allowed the clients to put in their own backgrounds easily.
All three Mannings were delightful. I can't remember any rich and famous person that we have photographed that hasn't been great. I guess they're just human after all. Just remember that those around them expect you to give them all of your attention, so take care of the important stuff before they show up. And that is the light & focus.
Why does a food photographer have to know how to shoot everything well? Why do we have to be Photoshop experts? The reason is that food clients have lots of ways to promote their products beyond food shots and we want to shoot it all (and earn all of the money). This client asked me to go to the Javits Center in NYC and shoot Bobby Simmons as he signed autographs at their booth. My assistant and I went in and spent around 2 hours shooting candids of Bobby.
Then before we left for home, we set up a full length portrait studio in a conference room and shot more formal full length portraits of Bobby for our client. It was a fun day, we got to meet and spend time with the NJ Nets new forward and we kept making money. It's a great life and I feel blessed.
