This week I had the extreme privilege to get a lesson in food photography from Ryan Matthew Smith , the principal photographer for Modernist Cuisine>"/>
This week I had the extreme privilege to get a lesson in food photography from Ryan Matthew Smith, the principal photographer for Modernist Cuisine. We recreated a few shots from the book and Ryan explained some of the techniques he used to create those jaw-dropping photos.
In this article, I'll give you some of Ryan's best tips and tricks for shooting food in this style. We'll cover the lighting setup for each shot, talk about the equipment that Ryan uses, and even look at some at-home alternatives. Finally, as a reward for reading all the way through, you can watch gelatin bounce in extreme slow motion In Part 2 (coming soon), we'll walk through a set of steps in Photoshop to pull out the hyper-real detail and lighting that make Modernist Cuisine's food seem to jump off the page.
Of course, we can't talk about photography without talking about gear. All the shots in this article used the following set of gear. Although the list of equipment used to create the book is likely much longer, I got the impression that this was the go-to stuff for the majority of the work. Unfortunately for the rest of us, the world's best food photography isn't cheap. However, I've tried to round up some budget-friendly alternatives to the big-ticket items.
|Modernist Cuisine Gear||Budget-Friendly Alternatives|
2 x Broncolor Grafit A4 RFS 110 V 120 V 3200 watt Second Power Pack – $11,349.95 ea.
Use a monolight or another self-powered off-camera flash - no external power pack required
2 x Broncolor Pulso G 3200 WS Lamphead – $3,039.95 ea.
[Note: Ryan recommends watching Craigslist for deals on used monolights and strobes]
|2x Broncolor Honeycomb Grid – $569.95 ea.||Strobist has a great article on DIY Gridspots made from cardboard. A cheap but effective alternative!|
Canon EOS 5D Mark II – $2,708.94 (body only)
|Nikon d7000 - $1349 (my not-quite-budget choice) with a 50mm Prime Lens – $175 |
Canon Rebel XS with kit lens - $554 (entry-level, but a huge step up from point-and-shoot)
|Flash Sync Cable - $7.49||Doesn't get much cheaper than this. But, if you're looking for wireless flash triggers, the CowboyStudio hotshoe triggers to a great job for the price ($26)|
|1/2" Clear Acrylic Sheet 24"x36"||Here's a 12"x24" version on Amazon for $33.20. You don't need 1/2" of thickness since the sheet is much smaller.|
|1/8" and 1/4 Clear acrylic, sprayed black 24"x36"||You can snag a 12"x24" piece of black acrylic from TAP Plastics for around $25.|
|Black Velvet Fabric Panel - $39.95||Black velvet curtain set - $18.19|
|2 x Sawhorse - $80||Grab 2 chairs|
Although this isn't explicitly a replica shot from the book, it would fit right in. We took a beautifully weird, yellow heirloom tomato (from Whole Foods) and sliced off a 1/2" section from the middle. We shot the image both using Ryan's camera and my own, but with identical lighting setups. Ryan and I both did some Photoshop cleanup, the results of which you can see in the right-hand images above. [Note: Ryan is a Photoshop guru. To learn a few of his tips, check back for Part 2.] The purpose of posting these images side-by-side is to illustrate that different cameras will yield vastly different images.
Here's an image showing the setup of the shot. Ryan placed a sheet of 1/2" clear acrylic across a pair of sawhorses. He then covered the floor with a piece of black fabric. He equipped his two monstrous strobes with honeycomb grids and pointed them up at the tomato slice at a 45-degree angle from the floor. Then, a few steps up a ladder gave us just the right angle to shoot straight down on the subject.
[Note: the photo shows the flashes in action - we did not use any continuous lighting for these shots.]
The footage above is from Modernist Cuisine's ridiculously expensive Phantom high-speed camera. This looked like too much fun to leave alone, so I brought a pack of vegetarian black cherry Jell-O-esque treats with me to the lab. Using a manual shutter release and an uncanny sense of timing, Ryan proceeded to smash the tasty cubes in front of his lens and capture the jiggly morsels just as they were landing. No sound-activated triggers, no elaborate timing system, no high-speed video camera to capture the action. Just a dude smashing Jell-O and hitting the shutter button. Amazing!
I absolutely love the way these gels were lit, and, as with all the other shots, the beauty is in the simplicity. As you can see in the setup shot below, Ryan is using two strobes pointed at 45-degree angles at a white background. The gels are entirely backlit from this one reflective source and the effect is astonishing. Also, this is messy business: wear an apron, or suffer the consequences.
Next time, I'll walk through some of the Photoshop tricks that turn these images from great to otherworldly. Thanks very much to Ryan for letting us in on some of the secrets to Modernist Cuisine's amazing photography, and for letting me play for an afternoon!
Yep, that's me and half a whipping siphon. Don't tell Nathan.