Plate to Pixel Read online

  Take full opportunity of bright summer light to show a clean

  crisp atmosphere in a scene.

  f/3.2, ISO 640, 100mm, Macro L

  Camera Schmamera: Does it matter?

  After you read the next chapter on Camera Settings and Modes, you may think that this book applies only to people with a dSLR camera, that it’s not for those with a Point and Shoot (P&S). But that’s not the case.

  Whether you have a dSLR or a P&S, the basic principles of good photography remain constant. To create beautiful images, you need to understand light, shadows, composition, aperture, ISO, white balance and other fundamentals. And even when you become well-versed in these areas, the choice of camera seldom matters to how well a photographer executes basic techniques. I see gorgeous photography created with P&S cameras, and I see terrible photography from dSLRs. It’s not the camera that makes the photograph. You do.

  So why invest in a dSLR, you may be wondering. Well, frankly, it’s a control thing. A dSLR simply offers more creative control. And, I have to add, the reproduction quality of a JPEG taken with a dSLR will usually be better than one taken by even a high-end P&S, because of the higher data-recording capability offered by the better sensor available in dSLRs. But more on this later …

  For me, it was first about the control. I remember the day I picked up my little pocket camera, handed it to my husband and said, “I need to upgrade.” What I needed was a proper lens and better sensor. At that point, I had learned and used every function my camera offered, and I was ready for more control. Again, this was after I knew that camera—what each bell and whistle was and what it did.

  So, if you’re just getting started, don’t let yourself be dazzled by special features, cool accessories and size. Photography is pricey. Obviously, most photographers no longer invest in film and developing materials/ services, but there are P&S cameras that cost as much as entry-level dSLRs nowadays. And then there are the extras: the lenses you’ll want, the memory cards, flash units and so much more.

  So I strongly recommend that you do your research before choosing a camera. I definitely know that the itch that comes with wanting camera equipment can be stronger than reason; but especially with electronics, it’s important to know your options … and be clear on what you actually need.

  Think first about your budget and about how much you can realistically afford to spend on a camera, potential upgrades and photography equipment. Think about what you currently own and the repercussions of switching to another brand. This is important, because each brand speaks a different language. When giving camera recommendations, I always qualify my advice saying that I “speak Canon—not Pentax or Nikon.” These brands are different and they each feel a bit different.

  So read as much as you can about your options, and decide which is right for your budget and your situation before purchasing a P&S or dSLR of any brand.

  All of these cameras work; we just need to work on making time to use them all!

  f/1.8, ISO 400, 50mm

  A final bit of advice here: Despite the convenience of online shopping, nothing compares to hands-on experience with a camera. Go to a store and hold a few different makes and models to find out how they feel.

  If you go the dSLR route, I suggest that you take the time to rent a few different bodies with one basic lens … and see how you like each option. A camera is not just a pretty toy or a seasonal purchase. It’s an investment—usually a substantial investment. And I’m not just talking money. I am in love with my Canon cameras. They offer an extension of the way I see things—from my heart through the lens. I’m so glad I explored the options and found the camera that was really right for me … before I committed!

  Know the Basics

  No matter what brand or model of camera you choose, certain key settings and modes will be available. It’s critical for a photographer to know how to use these universal tools of the trade. And it’s not easy. These elements can be isolated to generate specific results, but they need to work together in a controlled and balanced way to create the magic you want to see.

  This image captures the simplicity of a morning scene at the breakfast table.

  f/2.8, ISO 125, 24-70mm L

  Some of these settings—such as white balance, ISO, aperture and shutter speed—are indispensable photography tools. They help you achieve an appropriate exposure in your pictures … no matter how much or how little light you have available, where it comes from, or how strong it might be. You’ll find that these settings open a big wide world of options—for depth of field and composition, for instance—that enable you to convey a striking story … without a thousand words.

  When it comes to picking camera modes (e.g., Manual, Aperture, Shutter Speed Priority and so forth), I often equate the selection to choosing your favorite ice cream. There will be an ultimate favorite and then you’ll have flavors that you enjoy off and on, depending on the situation. In order to pick your favorite way to take a picture, you have to try as many settings as possible. Each one has a purpose and value; so the more you know, the more diversity you can put toward your photography.

  Just, please … step away from the Auto setting as early as possible. Yet don’t be afraid to back off of the Manual mode in some situations. Your camera offers different modes for a reason. Use the one(s) that best fit your shooting situation, and play with the others to see how they work there, too.

  Keep in mind that different types and brands of cameras have different ways to label camera modes and refer to them. Call it marketing genius or just plain frustrating. Either way, the technology available in some P&S cameras makes it possible to have professional-quality photographs. The top lines of each brand come close to offering the control and quality of a dSLR, including mode options that include Manual, Auto, Aperture Priority and Shutter Speed Priority as well as Low Light, Landscape, Kids & Pets, Sports, Poster Effect, Fisheye Effect, Miniature Effect, Foliage and more. Sometimes a single P&S (also sometimes referred to as a compact camera) will have all of these options! And you think dSLRs are confusing?!

  A typical day at work …

  f/1.4, ISO 400, 50mm

  But don’t be overwhelmed by options. Photography, the art of writing with light, takes time to learn. And the really wonderful thing is that there is always something new to learn no matter how much you already know!

  Make Quality Decisions

  When I first sat down to write this book, I knew I would feel more vehemently about certain topics than others. And one of my hottest buttons is the choice we have to shoot images in a JPEG format … or RAW. This is especially true if you have a dSLR.

  I started shooting JPEG files in the first six months I had my dSLR … mostly because I kept reading about people who would try to use the RAW format and find it quite difficult to manage this format in post processing. Post processing, by the way, refers to the manipulation of an image file, including the process of transforming a RAW file to make it a JPEG. I was also worried about how much storage space RAW files require on a camera and the computer.

  Yet I knew how much better it was for me to shoot RAW. So one day I said, “Ah, what the heck. I can edit the JPEG file if I struggle too much with the RAW.” Now? Well, now I never shoot JPEGs unless I have no other option … and I’m stranded on a deserted island, so to speak. Yes, it definitely required an adjustment period to switch to RAW, but it was so worth it!

  There’s more information on RAW files in Chapter 8 (After Capture), but for now think of it as the uncompressed, most complete data set your camera sensor will record.

  When you look at a RAW image file on your monitor, you’ll see that it is not as sharp or contrast-y as a JPEG file. This can be surprising, given the fact that RAW files have so much more image data available. But an image formatted as a RAW file is initially less sharp and has less contrast than a JPEG file because, unlike a JPEG, the RAW image has not yet undergone sharpening algorithms.

  Think of a RAW file as a film negat
ive that needs to go through chemical baths before becoming an image. RAW means exactly that: It is untreated (like a negative) and needs to go through post processing before it transforms into the image it will become.

  The need to process a RAW file is one of the things that makes people shy away from using this format when shooting images. And post processing a RAW image is not as straightforward as the method for editing a JPEG file. But honestly, once you get your groove, both formats take about the same amount of time to post process.

  These two screen captures show the difference in sharpness and contrast of a processed and unedited RAW file. Some post-processing programs will automatically apply white balance, contrast and sharpness when uploading a RAW file (e.g., Adobe Creative Suite products), but most won’t.

  Again, think of post processing exactly like working from a film negative in a dark room. Now do you see the potential? Technically, an image does not need to be post processed to be viewable. Both RAW and JPEG files can be seen without editing, but the editing … even on a minor scale … can take your image from A to A+.

  That said, it’s technically impossible to load as much data as a RAW file contains into any document without problems, and some online programs won’t allow you to load any RAW anything, so to speak. So while you don’t have to do anything with either of these image files, it is much better if you do. Leaving them alone is like running ten miles of a half marathon and quitting. Why bother with the first ten miles if you’re not going to finish?

  So the reason photographers bother with the extra work of using the RAW format is that image data will never be lost when using a RAW image. Conversely, every time you manipulate a JPEG and save it, you lose some image data. If print quality is important to you, then this is something to consider.

  Here’s why: Unlike with RAW files, when taking a photo in the JPEG format, the camera firmware (the internal software) automatically removes some of the color data and resolution as it moves information from the sensor and saves it as a photo file. That loss of information helps to compress the image into a smaller file size, but it means a loss of tone nuance, color and sharpness. Your printed photograph is thus less rich than it is if you’re working with a RAW image file.

  So, as you can guess, the data capacity of a RAW file comes with a price. These are very large files, especially compared with a JPEG file. Retaining all the data available in a RAW requires more space on your camera card and your computer. But if you have an organized system for storing your images, this may not be much of an inconvenience. To me, the file size issue is less important than having access to the utmost color and data quality for my photographs.

  Get the Look

  To me, one of the greatest thrills of photography is the sheer number of subjects that can be photographed. You can use a camera to record everything you find. Some people focus on a single kind of item, while some prefer to be a student of all things—from landscapes to dogs, people to flowers, buildings to furniture. And, of course, some of us focus on food.

  Just like landscape or portrait photography, there are some basic guidelines worth knowing when you start composing an image of food. These guidelines can help you decide when to place a subject off center, consider the Rule of Thirds, use a wide or macro perspective, and so forth. So while props are fun and they can add a lot to your image, keep in mind that they can only take you so far. You simply need to develop your eye for strong composition if you want to create strong imagery. For instance, there are ways to enhance a simple plate of pasta with just light and subject placement. It’s not all about props and food styling.

  So be prepared to apply your knowledge of camera modes and settings to what you’ll learn about composing and styling food. Only by combining these different types of techniques can you tell a strong and engaging story about a recipe, food item or dish.

  People who casually look at photographs of food on blogs, restaurant menus, cookbooks, and other online or print publications usually have no idea how much happens from plate to paper/ screen when it comes to food photography. And they don’t need to know. In this book, I focus on what I call basic or natural food styling.

  These terms refer to the practice of manipulating, or styling, food at different stages of cooking. It’s different from commercial styling, for which instruments, materials and techniques must be used that home cooks typically aren’t interested in adding to their food. Things like Vaseline and blow dryers … and even using mashed potatoes as a base to build fluffy salad bowls.

  I have nothing against commercial styling. The fact is, I haven’t worked in that capacity, so I have little to say about it. But some of my very close friends are commercial food stylists, and I’ve picked up tricks and tips from them to style my food shots—without making the dish inedible.

  In fact, I will always remember my first professional job. I was working alongside a seasoned and talented photographer, and he kept saying to the stylists, “Make it real!” … to describe what he needed in terms of both styling and composing. So don’t fret if you have to rearrange your food items on the plate or substitute a small piece of an important element for a larger one. You may even need to add a dab of water to your fish to keep it looking moist for your shot.

  Some manipulation of your subject(s) may be necessary to make your food pop and/ or stay looking fresh and natural. These are acceptable “make it real” procedures that don’t compromise the integrity of the food you’re photographing.

  The entire point is to make your viewer say, “Oh dear, I want that for dinner!” instead of “Hmmm, that salad looks a bit limp.” If your styling efforts can do this, then I say it’s worth it. Just remember to think about styling in terms of enhancing rather than tricking.

  The world of food photography is an ever-changing compilation of composition, styling, creation and exploration. There is always a new way to use light and capture the beauty in food. To excel with food photography, one only needs a vast reserve of patience, dedication and passion. Got all that? Well, then grab your camera and let’s get started…

  Some days it’s all about picking that perfect sprig of thyme for the photograph!

  f/1.4, ISO 400, 50mm

  Chapter Two: Camera Settings and Modes

  Do you ever feel as if your camera is in charge of the picture you’re trying to take—instead of the other way around? Are you groaning right now, thinking about it? I know, in these times, it’s as if your camera is ambushing your vision for the image, refusing to translate a dish into the appetizing photograph you know it can be. Well, this chapter is meant to take you out of the comfort zone of auto settings to give you more control over your camera and open the door to greater creative freedom.

  I wish I could tell you to go grab your camera, gather a few props and some great food and that we’ll set them down, move them around the frame and … within 20 minutes or so … you’ll have a good dozen to choose from. Actually though, now that I think more about it, that wouldn’t be much fun.

  The more you know about your camera and what it does/ how it interprets a scene, the more control you’ll have when photographing food … and other subjects, too. By mastering your camera settings, you can find real joy in the creative process of shooting. Trust me. That’s how I got the bug. Make the camera work for you!

  Basic photography techniques will never steer you wrong. And knowing them is as important to creating appealing images as good vocabulary and spelling skills are to writing. Once you have the fundamentals, you can play with them to develop the story you want to tell.

  Exposure

  One of the most basic principles in photography is Exposure, which refers to the amount of light received by your camera’s sensor (or film). No matter what camera mode you use (Manual, Aperture Priority, Shutter Priority, etc., which are explained later in this chapter), an over- or under-exposed picture can ruin the entire feel you are aiming to portray. Of course, there is a time and place for creative expression that plays with
exposure to enhance a particular mood, even for food, but let’s first try to get a handle on how to achieve “balanced” exposure.

  Three elements affect the exposure of a photograph:

  Aperture: A term that refers to the size of the opening of the lens iris or diaphragm. Usually referenced as an f/stop.

  Shutter Speed: The amount of time that the camera sensor is exposed to light when a photograph is being taken. This is measured in seconds or fractions of seconds.

  ISO: A measure of how sensitive the sensor is to light. Most cameras’ ISO scale ranges anywhere from 100 to 6400+, depending on the brand and model.

  Aperture

  Aperture refers to the size of the opening of your lens, and it determines the amount of light that gets to your camera sensor (or film, if you’re not using a digital camera). Aperture affects the exposure and depth of field in your image.

  Think about aperture in terms of your eyes. Your iris controls the diameter and size of your pupils as well as the amount of light that reaches them. When there is little light available, your pupils expand to create a larger opening and gather more light. When there is a lot of light, your pupils constrict and allow in less light.

  In the case of your camera, the aperture (the diameter of your lens opening) is also controlled by an iris that opens up or stops down the amount of light that reaches your camera sensor.

  Unless you’re working with fixed-aperture lenses, such as those found on point-and-shoot cameras, the aperture of a lens is measured in f/stops (e.g., f/1.8, f/3.5, f/16, etc). The f/stop references the ratio of focal length to aperture diameter. Every full f/stop doubles or halves the amount of light that hits your sensor. So, you ask, what does that mean?