The rise of the minimalist kitchen is changing the art of food photography. The following is a look at some of the techniques adopted by photographers to capture the simplicity and spirit of this modern kitchen. Whether due to the recession or a genuine desire to downsize and simplify, the minimalist kitchen has become extremely popular. Everything from expensive and hard-to-procure ingredients to specialized utensils and equipment that is rarely used has been reduced to a bare minimum. Less is definitely more. Many photographers have noticed this change, either consciously or intuitively, and are evolving and adapting their techniques to suit. The old sumptuous, saturated, glittery and overloaded image just doesn’t seem like a good match for this new approach to cooking and food in general.
Photographers who understand this and have an idea of the subject have started to use some specific techniques that serve to emphasize the subject but in a much more understated way and this article will introduce some of these basic techniques. It is not intended to be a comprehensive introduction to photography, and most techniques will not require expensive equipment. However, it should be noted that even a basic dSLR camera will be able to offer much more flexibility than even the best point and shoot camera due to the amount of control available to the operator. However, this does not mean that perfectly acceptable results cannot be achieved with point-and-shoot, just that the range of possibilities is narrower.
simplicity is the key
When composing the shot keep things very simple, plain white plates and smooth or brushed steel countertops work great. If your image needs a little extra color, a sprig of a cool herb like sage will do the trick. Shoot at the same level or a few degrees above the food. We are used to putting food down, and in photography, offering a fresh perspective is always a good idea, as it awakens the viewer’s brain. It also adds interesting possibilities for lighting, but more on that later.
A blurred background is generally good as it emphasizes the subject. This can be accomplished by using a long lens, say a 300ml with a wide aperture from a few feet away with a dSLR or by using the macro setting in a point and shoot and getting very close, typically within a foot of your subject. Both approaches have the added benefit of giving a very narrow depth of field. This means that only a small proportion of the main subject is likely to be in focus. This further concentrates the viewer’s attention.
the tripod
The only piece of equipment that is essential for taking high-quality food photography, other than a camera of course, is a tripod. It may not be necessary for all shots, but not having one would rule out a lot of potentially good shots. The choices would be between a small tabletop model, probably better with the smaller point and shoot camera. This would allow the tripod to be placed on the same surface as the item being photographed, very useful when the camera needs to be close to the food. A small tripod is available that has flexible legs that allow it to wrap around objects like tree branches and sign posts. This type of support would come in handy, for example, for picnics or barbecues. Larger dSLR cameras tend to be too heavy for smaller tripods and usually require a full-size model. The advice that photographers are often given is to buy the most expensive tripod they can afford. I would say buy the tripod that will do the job without breaking the bank.
Whichever tripod is used, release the camera’s shutter remotely or use the timed delay function built into almost every camera on the market. Pressing the shutter causes the camera to vibrate, so doing this off-camera or giving the camera time to settle before the shutter goes off makes for a much sharper photo. This brings us to the main reason to use a tripod: the photo can be taken in natural light, meaning flash is not essential. As a general rule, good natural lighting is always preferable to artificial lighting when choosing between one or the other, but often the best photographs use a combination of the two.
Turning on
While the above applies to food photography in general, there are specific lighting approaches that give a more minimalist feel. Using a very strong backlight is one such approach. The best source is a window that takes up the entire background. This will give you a very bright background with any colors reduced to pastels and objects like trees, cars or other buildings reduced to abstract shapes. Now, if this were the only light source used, the food itself would be outlined and appear too dark, so some fill light is needed. This is a burst of light from the camera’s flash that isn’t as powerful as it would be if there was no ambient light, but it’s powerful enough to illuminate your main subject. Point-and-shoot cameras usually have settings that automate this process, while a bit more experimentation with dSLRs and flashes may be required.
A couple of quick points about lighting that apply to all photography. Direct light is harsh and produces strong, sharp shadows. I think it’s safe to say that in all minimalist food photography this is a bad thing, so we need to soften the light. This applies to both natural and artificial light. With expensive off-camera flashes, a small diffuser that fits over the bulb is usually sufficient. For smaller cameras with built-in flashes, a little ingenuity goes a long way. If the flash can be covered with a piece of clear semi-transparent plastic or even a piece of greaseproof paper, results can be drastically improved. The worst light source for photography is the small flash units built into the cheapest cameras. As for natural light, direct sunlight should be avoided, so a north or south facing window is best. If direct sunlight is the only option, then a semi-transparent plastic shower curtain attached to a plastic pipe frame makes a great diffuser.
The computer
Of course, the process does not end with pressing the shutter. After the session is over, or even during the session, the images are uploaded to a computer and edited. Editing usually consists of little more than a bit of sharpening, a slight color correction, or minor cropping. It is possible to use the computer only for these technical tasks, but with a little imagination, the computer can become a creative tool in its own right. A minimalist approach to photography requires an awareness of what is essential to the image and what is incidental. It is often possible to lose information by increasing the exposure at this stage; often a two-thirds magnification to a point can really make an image pop. Part of the reason this is so effective is because it makes dull, dull whites shine. This effect is often used in fashion photography, but it works just as well with food.
technique and eye
There is no great mystery to what constitutes great minimalist food photography. The best advice, as with all types of photography, is to find images you like that have been taken by others, see what techniques were applied, and then practice. Hopefully a combination of good technique and an expert eye will produce something unique. The following techniques work well for me: diffused natural light behind the subject and fill flash to fully illuminate the subject; a low point of view, approaching the same level as the food; blur the background and aim for a small depth of field; on the computer, sharpen the image a bit, crop, and color correct if necessary. Above all, experiment and have fun. One day you might be practicing and writing about a technique you’ve discovered.