The job of a food stylist is very often the job of an artist not cook. Especially when it comes to making pretty food for magazines and cookbooks.
Essentially, I am asked to participate with an art director, a photographer and a set stylist in the making of a beautiful photograph. Which is not unlike a painting or a sculpture. The one difference is that my art also needs to include appetite appeal (otherwise known as the yummy factor) which is conveyed through visual means but appeals to the other human senses like taste, smell and touch.
I need to be able to create a visual masterpiece with food. Food is my artistic medium. Sometimes my "paint" is a ginger cherry glaze and sometimes it is ketchup. Sometimes my "clay" is a rack of lamb and sometimes it is a hot dog. Sounds funny but it is so true! And both the rack of lamb and the hot dog need equal consideration to become art.
The other participants in the photographic work of art are the art director, photographer and the set stylist. The art director is the the concept person and also the leader of the group of artists. The art director is focused on the end product, what we are trying to convey and how to get there. The photographer works his or her artistic magic with lighting, angle and focus to help convey the ideas presented by the art director. The set stylist's art is to choose props that help create the mood, theme, and color palette. The set stylist is also the visual arranger and places the objects on set with an eye for balance, color and textures. Many times the art director, photographer, set stylist and food stylist are also knowledgeable about each others fields and can cross over to assist in other areas.
The Making of Photographic Art From a Food Stylist's Point of View
What I think of when given an assignment for editorial work is the following:
- What is the setting and mood of the photograph? How can my food add to this feeling?
- What are the colors of the props, background and dishes? What textures are being used in fabrics or props?
- What garnishes will fit into both the mood, color scheme, and desired textures?
- What size are the dishes that my food will go on? This will determine the size of my food (think turkey on a platter, what size is the platter?).
Once I am at the photo shoot this is what I am thinking about:
- What will be in focus or where will your attention be? Is there a particular area that is "the sweet spot"? The one small area that the focus will be on.
- Which garnishes that I have are actually working with the given set? For example, does the food need a simple bold garnish or a small intricate garnishes?)
- What is the angle of the camera and how do I need to present the food to show this angle best? - Which hero food do I choose based on the angle of the shot and the lighting?
- Is the lighting affecting the hero food in a way that I need to lighten it up or darken it?
- Are there any areas that are darkly lit that may need a lighter garnish? Or vice versa?
While every photograph is not a museum piece neither is every painting. But, as artists, we all strive to make visually pleasing "works of art" by paying attention to balance, color and textures, and lighting.
