Red

[Prateek Dubey]

Prateek Dubey : Red​

I'm working to create a commercially appealing portfolio. I will post all those photos which I think should appeal to advertisers, food stylists etc. I take criticism well, so please feel free to say anything you wish to.
This is my first attempt at 'food' photography. Though I got swayed by the texture and form of the watermelon.

 

[Ken Tanaka]

Prateek,
This is an ecellent personal project to undertake. It might ultimately produce good stock imagery and/or a body of more personal imagery.

I've no crit of this to offer, only a brief thought or two to consider.

Among all visual subjects food is perhaps the most complex. Not purely from a technical perspective, although it can present many challenges there. But from a much higher and broader perspective. Every person who will look at your images has a physical and emotional relationship with food. Food stylists are paid to make commercial food imagery appeal to appetites and tastes. That's fine if you're trying to sell food.

But today, perhaps more than ever, food imagery can invoke negative, even rather repulsive, reactions from viewers. Sometimes it's a direct connection, like weight control issues. Sometimes it's an indirect connection, such as economics.

My point is that before you set up your images you need to have a bead on what strings you're going to try to pluck in your viewers' eyes. Are you going to try the yum-yum angle? Are you going to explore objectivizing food? (You shot here borders on this.)

Appealing to what "advertisers"? (Food stylists don't matter; they're part of the help, not your market.)

 

[Prateek Dubey]

Prateek,
This is an ecellent personal project to undertake. It might ultimately produce good stock imagery and/or a body of more personal imagery.

I've no crit of this to offer, only a brief thought or two to consider.

Among all visual subjects food is perhaps the most complex. Not purely from a technical perspective, although it can present many challenges there. But from a much higher and broader perspective. Every person who will look at your images has a physical and emotional relationship with food. Food stylists are paid to make commercial food imagery appeal to appetites and tastes. That's fine if you're trying to sell food.

But today, perhaps more than ever, food imagery can invoke negative, even rather repulsive, reactions from viewers. Sometimes it's a direct connection, like weight control issues. Sometimes it's an indirect connection, such as economics.

My point is that before you set up your images you need to have a bead on what strings you're going to try to pluck in your viewers' eyes. Are you going to try the yum-yum angle? Are you going to explore objectivizing food? (You shot here borders on this.)

Appealing to what "advertisers"? (Food stylists don't matter; they're part of the help, not your market.)

Ken,
Thank you so much for your perspective. It has opened up the world for me. Suddenly the reality of the objective is much clearer. I'm now sitting and thinking about all the foods which are advertised ( at least in India). Most of them are chocolates , icecreams, pizzas , butter and bread. Most are associated with feel good factors. Recently I've noticed an advertisement for the new Volks Wagon Beetle. It shows a thin woman gorging on all kinds of inviting food. The ad proclaims," Curves are back". So I'm thinking, that most companies sell fast foods. Fruit juices and blended oils are labeled as healthy, which in my opinion they are not.
I believe, as a photographer, like you suggested, I need to be 'aware' of the psychological impact of the food image. This will make things clearer. This image as of now, is nothing more than a showcase of different textures. Not portraying something one can eat too.
Thank you so much again,
Prateek

 

[Asher Kelman]

Prateek Dubey : Red​

Prateek,

I'm impressed with the wedge coming from the left like a cubic mouse and then the sharp eyes popping out like Magritte's locomotive asking me what it might mean.

However these are just elements and not a completed composition and of little strength so far in selling anything. But as you point out these are forms and textures and an exercise so all if fine!

It goes without saying that Ken's point are strong, generous and likely all correct. That's the kind of advice that can save you a lot of wasted man-hours at the outset. So, at least for food, you have a reality check that might give you pause.

I'm working to create a commercially appealing portfolio.

Prateek,

Have you ever seen a portfolio? I have only seen a few.

• One for a fashion/Vogue photographer and his portfolio had one consistent subject, beautiful women and a few men and each with an edge that caused one to stop and pay attention.
  
  
• Another on architectural photography showed major international icons of engineering and design splendor taken from extraordinary points of view.
  
  
• In Nicolas Claris' marine photography pictures, he has interiors with the table set, absolutely perfectly, but never food, as a significant part.

There's not much place place, AFAIK, for a dedicated food picture in a serious portfolio unless the model is eating. For some reason, a bowl of pears is considered artistic along with flowers, so such food works.

This is my first attempt at 'food' photography. Though I got swayed by the texture and form of the watermelon.

I like experiments and studies of form. Such exercises will open up possibilities. The watermelon as a mouse is an example of making one thing occupy the mental space of another and that's fun and a good concept to explore when devising a commercial shot.

Asher

 

[Prateek Dubey]

Hello Asher,

Thank you for your incisive points of view. Really, just these two comments have made me so much richer. I'm planning to start as a commercial photographer. So as an excercise, I began like this. Bringing in my two bit aesthetics for something edible. Right now, the image seems to be a pleasing composition. That's it.

I've not seen a portfolio yet. But I guess to showcase one's work, one needs to have one. The one I have is of my current images, which are bordering on photojournalism. Its of little use to an advertiser I guess. I can't take time for that pursuit at least for the next five years. So for the time being I need to do some commercially viable photography. I've just begun and I'm finding it pretty challenging.

I have no experience in 'creating' images. I've always captured images so far. It'll take time for me to hone these skills. Your comments in the matter will ease my journey.

Thank you so much for your invaluable and acute insights,
Regards,

Prateek

 

[Ruben Alfu]

Hi Patreek,

It's great to see your take on food photography. I like it, simplicity is king in today's food photography. I'm not too enthusiastic about the composition, but the subject, light, color, textures, they are all good. The detail of the seed, kind of falling, is very nice.

Regarding your portfolio, style matters. Successful food photographers usually have a strongly defined style. Some tend to shoot everything very close, some only use natural light, others are all about mood, etc. To name a few of my favs from the top of my mind: Victor Boghossian, Alessandro Guerani, Lou Manna, David Bishop. All of them are easy to find on the internet, check their websites and you'll see what I mean regarding their style. Needless to say, there's a lot to learn by studying their work.

 

[Ruben Alfu]

There's not much place place, AFAIK, for a dedicated food picture in a serious portfolio unless the model is eating. For some reason, a bowl of pears is considered artistic along with flowers, so such food works.

Asher

Hi Asher, I'm curious about this statement... I think it's rather common for commercial photographers to include food in their portfolios, even in fine art photography, it seems to me that food is a fairly common subject (the great Irving Penn did some food photography too). Would you elaborate more on this?

 

[Asher Kelman]

Hi Asher, I'm curious about this statement... I think it's rather common for commercial photographers to include food in their portfolios, even in fine art photography, it seems to me that food is a fairly common subject (the great Irving Penn did some food photography too). Would you elaborate more on this?

If a company has a campaign and the designers want food, it will be included, of course. However, if you shoot the car, it is unlikely you will also shoot the food! An example is in this month's Food & Wine magazine, where a 3 double-page set of ads use 3 master chefs, sequentially, with food images on the page on the left to support the facing page on the right with various Lexus cars under the theme of "The Pursuit of Perfection". This ad campaign spins off on the popular TV program "Top Chef Masters", by Bravo. "NEW YORK (AdAge.com) -- Bravo is cooking up a high-end special based on its "Top Chef" franchise. On June 10 the network will premiere "Top Chef Masters," a 10-episode spinoff in which established chefs will compete for charity. The cream-of-the-crop approach has translated to the show's sponsors as well." Source.

So Lexus bought the first 6 sides in the latest edition of Food & Wine! Each left hand page, has a featured master chef full length portrait and there's a small picture of actual prepared food tucked away and a more obvious what I call the "bowl of pears" shot. Such pictures show us food but with no oozing juices, like showing a gorgeous woman dressed in an artful blouse buttoned up high on her neck and her lips, puffed up, pouting red, arguing the opposite morality. That's how food is in a "pear shot", utterly sealed, 500% completely delicious! The ideas is to show sensual perfection contained. After all, these are fast, instantly-appreciated sultry decorations, working in a glance, that must not be more pressing, engaging and important than the Lexus Automobiles they lead to!

These are in seqence, with a lot of white space:

• Unique pear shaped open glass containors in a wooden rack for holding olives and white onions
  
• Whole red apples in a glass blender, a brief arty graphic to balance the picture of the chef and that red of the apples is picked up in the facing page in upholstery.
  
• A tiny bowl overflowing with a small bunch of lush red grapes
  
  

The placement of real food is sparse and except for uniquely derived Pasta, (from gelatin and the enzyme, transglutaminase, (a hook to catch the attention of the "foodies") in an interestingly shaped bowl, the food is never more than a peripheral item on the way to seeing the Lexus model on the right.

Now this is a very expensive campaign dedicated to well off food aficionados! If that's your market, go for it! However, your portfolio doesn't need that. It does need pictures of cars! That's where the contract comes from. No doubt, the pictures of food, of the Chefs and the cars are each by different photographers. some may just be stock!

So it's pointless trying to master food photography just to get this ad job! Look how the work was broken down: as many as 6 photographers participated and it's not clear who photographed the automobiles!

Credits:

• Wylie, Graham & Lachlan, the full length portraits of each of the 3 Chefs for the three spreads: Courtesy of Bravo. Presumably by one photographer.
  
  
• The cars: presumably by one other photographer
  
  
• The food: Wendell T. Weber: ? one noodle picture, Antonis Achilleos, Terry Monk and unknown photographer from ISTOCKPHOTO

A few have some simple food like well sliced fish of various colors for Wüsthof Classic Fillet knife of course. Otherwise, almost all the other key ads in the magazine are wise to have no food gimmicks at all!

Bellagio, Las Vegas
Acura Cars
Home Depot kitchens
Bose home entertainment
Kohler sinks and fittings
American Airlines
Jaguar
Botox cosmetic
Barbados Food and Wine Festival (Beach, foamy waves, one girl in a bikini and her guy waiting with 2 glasses and champagne.
and many more!


So that's my take on it!

Of course, for a much smaller client or a boutique agency, you might very well be asked to include food. If that was put in my lap, I'd bring in a food designer and who knows, even a food photographer, to help me deliver something that's not pulled down by my lack of skills in that area.

IOW, I don't suspect that not being able to ace photographing food, oneself, is going to limit most commercial photography jobs. Now if one happens to have brilliant food shots, include them, but I believe that a group of khaki colored pears in evening window light, photographed to show the gentlest transitions and delicate texture and color will be more valuable to your portfolio than anything that's wet, oozing and messy, unless that's where your strengths are!

Asher

 

[Ken Tanaka]

It's my impression that Asher's right. Youngsters just starting out will (and do) shoot anything for their portfolios. But more experienced photographers will tend to stick with specialties. Food is a real specialty...and a real pain in the ass to do well, requiring very specialized styling talents that must be hired separately. (Try shooting ice cream.) But it doesn't generally pay well and is not profitable unless you specialize and have a full-time talent crew to streamline.

It's often a similar story for animal shots. If you don't have the background, crew, and facilities to shoot 'em you sure as hell don't want to act like you do (unless you're a dumb kid ;-> ). The next thing you know someone's calling to ask where you want to shoot Dumbo.

 

[Prateek Dubey]

Hi Patreek,

It's great to see your take on food photography. I like it, simplicity is king in today's food photography. I'm not too enthusiastic about the composition, but the subject, light, color, textures, they are all good. The detail of the seed, kind of falling, is very nice.

Regarding your portfolio, style matters. Successful food photographers usually have a strongly defined style. Some tend to shoot everything very close, some only use natural light, others are all about mood, etc. To name a few of my favs from the top of my mind: Victor Boghossian, Alessandro Guerani, Lou Manna, David Bishop. All of them are easy to find on the internet, check their websites and you'll see what I mean regarding their style. Needless to say, there's a lot to learn by studying their work.

Hello Ruben,
Thank you for your comments. I had a look at Victor Boghossian's work and have noted some points. As far as style is concerned, I think I'll follow my instincts of capturing textures. I think that's what I love in everything including music ( Led Zep & Black Sabbath kind). When one looks at a food photo, it is so difficult to imagine the kind of hard work the photographer has put in to compose. It is difficult unless one goes through it oneself. So my salutations to all the food photographers.
Regards,
Prateek

 

[Prateek Dubey]

Hello Asher,
Do photographers have many portfolios? especially for a person like me who is to step out looking for work. I believe that I need to take a wide repertoire of images hoping some would appeal to an art director of an advertising company. Shouldn't I showcase my technical and artistic ability in handling a wide variety of subjects? Or should I wait and have a decent body of work related to one subject.
Regards,
Prateek

 

[Asher Kelman]

Hello Asher,
Do photographers have many portfolios? especially for a person like me who is to step out looking for work. I believe that I need to take a wide repertoire of images hoping some would appeal to an art director of an advertising company. Shouldn't I showcase my technical and artistic ability in handling a wide variety of subjects? Or should I wait and have a decent body of work related to one subject.
Regards,
Prateek

Prateek,

Let me answer this question on a portfolio by putting it in the context of getting a professional career.

What's my own qualification. Modest at best! I only photograph buildings, orchestras, classical and jazz musicians, dancers and actors, corporate meetings, and panoramas of impressive buildings. So that's my limited serious professional scope of work that ends up in professional promotion materials, books, banners, CD covers and ads is limited to this market. That's where I'm successful and happy. For myself I photograph ordinary people in staged scenarios and do street photography. This is for art and has no proven commercial value, as yet. Outside of my direct experience, I only know a small cadre of successful photographers who specialize in the following markets

• glamor,
  
• fashion,
  
• high end architecture for major city centers and mega prestige projects,
  
• corporate and municipal Architecture
  
• Automotive
  
• Marine
  
• Weddings, Christenings, Bar/Bat-mitzvas, Engagements
  
• Corporate portraits
  
• Sports Professional
  
• Sports School
  
• Guru: seminars, workshops, how to books, review websites

So my advice is just gleaned from observing how my friends have become successful and what characterizes their own narrow share of the "commercial photography market. I am no guru, but can share what I have myself discovered. Anyone in any specialty other than mine, will know far, far more than I do, LOL!

Each is a different world. Automotive, for example, is so competitive and technically brilliant today that one might be doing focus stacking of the entire car and setting up a sunset scene in the desert. Weddings are a series of rituals depending on the culture and there are expected key memory making magical moments you must create. There's nothing in common between the two.

The best thing to do, short of winning competitions or having already a list of good loyal clients:

1. Jump right in: Put ads in trade papers and just try to build a local reputation. Who knows you might miraculously get your break directly from this level! You will not be the first, but it's rare. After a while then go to method 2-4 to rise higher in reputation regionally and nationally or else might end up stuck in a rut as a second rate schlepper.
   
   
2. If you have time and money go to a photography/art school or skip and go to #3
   
   
3. Build your portfolio showing broad competence: Shoot objects, bridges, fences, monuments, workers in different trades, children playing, a man in a business suit, a woman in an evening gown, a chair, a horse in a field, a sail boat in the harbor with the wind too strong, a mountain in the rain, a couple in a swank hotel suite, a bottle of perfume, trains at the station puffing steam like horses on a cold day, and then, of course, my favorite a bowl of pears. All these or their replacements, showing use of light, form and allocation of importance build your portfolio, skills and confidence. Make a portfolio and a simple website like Tim Armes has created, but with more pictures.
   
   
4. Take just one or two Sante Fe quality courses in what you wish to specialize in.
   
   
5. Then you can go to a boutique agency and start from scratch or else
   
   
6. Find an established photographer to work with. Write to him/her or find out what meetings she or he goes to and meet them, date their daughter, work for free for 6 months, whatever it takes to get in. Then learn that trade and be loyal to the person who gave you a break.
   
   
7. Some established photographers are also represented by managers or agencies. That is not something you will do straight off, but when you do, likely you have arrived.

What you do depends on your own affinity for different features of human society and your tastes since it's always better to be working at something that gives you satisfaction as well as income. Critical factors on what path you take, jumping in, taking a training course, working as an apprentice for free, for example are:

• finances now,
• your level of energy
• passion
• what you are willing to suffer hardship for
• your family responsibilities
• your place in your life's journey and the like.

Map out the long term goals, the strategy to get their and the tactics to survive on a daily basis. But before you do all this, try to do a cost analysis to determine if this path os really for you compared to other career options that interest you. After all, you are investing thousands of hours and some sum of money in lost earnings and direct costs and only you can weigh each option. Your weights and measure will come from your own needs.

You can also work as a school teacher, pilot, nurse, lawyer, forrest ranger or housewife and take the most important pictures of your life, building a collection that's meaningful to you. Who knows, out of your collection, you might have an exhibition or win some prizes way down the road. There's nothing stopping this alternative.

Remember, Albert Einstein worked a, (likely mundane and boring), job in a patent office and his physics papers were his private passion! You might not be an Einstein but you get the idea!

Asher

 

[Prateek Dubey]

Hello Asher,
Wow! and thank you.
Regards,
Prateek

 

[Ruben Alfu]

Asher,

Thanks for the detailed explanation, that's a sound analysis. I worked in advertising for many years (from graphic design up to art direction) and I think your observations are accurate and well grounded.


Patreek,

Regarding your question about having multiple portfolios, well that's a common and convenient promotional strategy. I've been on both sides, shopping around for talent, and pitching advertising and production portfolios to clients. A portfolio that only says "look, nice photos!" fails in a cold, speculative presentation. No matter how generalist or specialized is a photographer, a portfolio should have practical relevance for the potential customer and, ideally, it should be also inspiring.

 

[Asher Kelman]

As a preface, let me state why I reply at some length to seemingly simple questions concerning careers. To me, for someone embarking on a life-changing new journey, a realistic assessment of what's ahead is needed. Photography is easy for fun as the camera takes away a lot of the technical barriers skilled trades generally have. Because of this, we might think it's just a hop, skip and jump away to become successful as a commercial photographer. It seems glamorous and the outlay is not all that much compared to being a doctor, lawyer, swimming champion or race car driver. I do hope that my answers, despite their lack of brevity, are worthwhile.

For more succinct points of view, Ken Tanaka is always the best shot in the arm or kick in the arse as you deserve!

Asher,

Thanks for the detailed explanation, that's a sound analysis. I worked in advertising for many years (from graphic design up to art direction) and I think your observations are accurate and well grounded.

Thanks for that!

Patreek,

Regarding your question about having multiple portfolios, well that's a common and convenient promotional strategy. I've been on both sides, shopping around for talent, and pitching advertising and production portfolios to clients. A portfolio that only says "look, nice photos!" fails in a cold, speculative presentation. No matter how generalist or specialized is a photographer, a portfolio should have practical relevance for the potential customer and, ideally, it should be also inspiring.

Orientation towards the client. If you have pictures relating to the job at hand, put them in the front of your portfolio and make a section on your website for that too. Think about what a physician does. They have to deal with the problem the patient brings. Orientation to that issue is to make that person enjoy better health and thrive. The same is with photography.

So what can one do to translate this concept to your client who needs pictures made? The portfolio should not be a passive isolated complete matter. It also needs you creating a sense of devotion and attention towards the needs of the person before you. The portfolio is then just to create an opening and from then onwards for technical reference to show you have the capability to shoot anything decided on.

• Read up everything you can on their, (and competing), previous campaigns. You have to know their world!
  
  
• Listen carefully to their needs and hopes and constraints
  
  
• Be realistic on one's skills but be bold too. What can you do to squeeze out the best effect and still deliver the result.
  
  
• Photographic sketches; ready to show, that relate to the client's needs.
  
  
• Sketch book; feel free to rough out an idea of you have the confidence to do so.
  
  
• Scrap book of images you like and constantly sketch over your own ideas. Don't let this be a passive matter by default.
  
  
• Plan to do things the right way. Even if someone says we needs shot from here showing such and such, you must interpret that and think professionally. If you need to rent extra lights or a crane, so be it.

Asher

 

[Prateek Dubey]

As a preface, let me state why I reply at some length to seemingly simple questions concerning careers. To me, for someone embarking on a life-changing new journey, a realistic assessment of what's ahead is needed. Photography is easy for fun as the camera takes away a lot of the technical barriers skilled trades generally have. Because of this, we might think it's just a hop, skip and jump away to become successful as a commercial photographer. It seems glamorous and the outlay is not all that much compared to being a doctor, lawyer, swimming champion or race car driver. I do hope that my answers, despite their lack of brevity, are worthwhile.

For more succinct points of view, Ken Tanaka is always the best shot in the arm or kick in the arse as you deserve!



Thanks for that!





Orientation towards the client. If you have pictures relating to the job at hand, put them in the front of your portfolio and make a section on your website for that too. Think about what a physician does. They have to deal with the problem the patient brings. Orientation to that issue is to make that person enjoy better health and thrive. The same is with photography.

So what can one do to translate this concept to your client who needs pictures made? The portfolio should not be a passive isolated complete matter. It also needs you creating a sense of devotion and attention towards the needs of the person before you. The portfolio is then just to create an opening and from then onwards for technical reference to show you have the capability to shoot anything decided on.

• Read up everything you can on their, (and competing), previous campaigns. You have to know their world!
  
  
• Listen carefully to their needs and hopes and constraints
  
  
• Be realistic on one's skills but be bold too. What can you do to squeeze out the best effect and still deliver the result.
  
  
• Photographic sketches; ready to show, that relate to the client's needs.
  
  
• Sketch book; feel free to rough out an idea of you have the confidence to do so.
  
  
• Scrap book of images you like and constantly sketch over your own ideas. Don't let this be a passive matter by default.
  
  
• Plan to do things the right way. Even if someone says we needs shot from here showing such and such, you must interpret that and think professionally. If you need to rent extra lights or a crane, so be it.

Asher

Hello Asher and Ruben,
It seems I'm living in a different world. I'd spoken to a few photographers about it and not one guided me on this topic so comprehensively. All they said was that the art director is the king and he'll tie your hands and make you shoot. One said that the agency people don't care about your work, they only look at your equipment. So I thought why not make a portfolio of pictures involving food, fashion and cars and land up at an ad agency!

Now, what I gather is that..

1) Do research on the ad agencies and study their clients.

2) Focus on my strengths and work on my weaknesses. ( I love textures so incorporate it as an aspect of style. I'm a novice in lighting, so work on that. Plus creating and conceptualising an image is also something new to me...work on it)

3) I like cars ( infact working on mine to make it go faster), so I'll shoot cars. Moreover India is an emerging market for all the car companies.

4) I was a fashion designer. so know quite a lot about it. Why not combine fashion with cars!

5) Food and table top photography has begun to fascinate me just because its so complex. I can avoid putting it in the portfolio, or maybe just as an accent ( in fashion parlance).

Does it sound like a decent plan?

Prateek

 

[Asher Kelman]

All they said was that the art director is the king and he'll tie your hands and make you shoot.

That may be true, but if you are able to be on the right wavelength, he/she might give you much more space to be creative and succeed in what they generally conceive. The best creatives allow others territory if they deserve it and can command that space. Everyone benefits that way. If you cannot function well, your territory will shrink accordingly, they will move in! That's natural.

One said that the agency people don't care about your work, they only look at your equipment.

When you are unknown, yes, they like to see you have pro looking gear. It's disconcerting for you to turn up with a box of Fuji disposable cameras and no white lenses or a G10!

So I thought why not make a portfolio of pictures involving food, fashion and cars and land up at an ad agency!

Unless you had a food photographer, a slew of fashion shooters and an automobile specialist on your payroll, don't do that! It's not your thing and likely an utter waste of time to stretch yourself so wide. Your portfolio should show you ability to use light, color, form, texture and composition to make pictures that are immediately arresting and intriguing. If you cannot do that, then this work is not for you.

Now, what I gather is that..

1) Do research on the ad agencies and study their clients.

2) Focus on my strengths and work on my weaknesses. ( I love textures so incorporate it as an aspect of style. I'm a novice in lighting, so work on that. Plus creating and conceptualising an image is also something new to me...work on it)

How about making friends with a photographer you admire who succeeds in this world?

I was a fashion designer. so know quite a lot about it. Why not combine fashion with cars!

If that's your core strength then work from that! Use fashion. Build your portfolio with fashion incorporated into the entire series. Learn to light objects and people. Find someone who does this type of work. Apart from being lucky, getting to work with someone who is successful is usually the most efficient method of succeeding yourself.

Asher

 

[Prateek Dubey]

Hello Asher,
Thank you so much. I'm happy that I brought it up here.
Regards,
Prateek