Food Photography: Capturing Food in Your Kitchen | Phil Ebiner | Skillshare

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Food Photography: Capturing Food in Your Kitchen

teacher avatar Phil Ebiner, Video | Photo | Design

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

14 Lessons (57m)
    • 1. What is this Course?

    • 2. Choose a Location

    • 3. Design Your Food and Setting

    • 4. Light Your Food

    • 5. Camera Options: Smartphone vs. Fancy Camera

    • 6. Camera Settings (for people shooting with manual settings)

    • 7. Compose Your Shots

    • 8. Edit Your Photos

    • 9. Practice: Morning Coffee

    • 10. Practice: Key Lime Tart

    • 11. Practice: Tomato Soup

    • 12. Practice: Cereal

    • 13. Practice: Beer

    • 14. Thank You

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About This Class

With DIY Food Photography, you'll be taking better photos of your food in just an hour.

Every lesson is hands on, and shows you how to use resources right in your home to create delicious, mouth-watering images. We'll walk you through the entire process, and we're available if you have any questions along the way.

Whether you're a food blogger, self-proclaimed master chef, or just an Instagram foodie, this course will give you the skills needed to take professional food photos.


Impress your family and friends with great photos of your food creations!

Steps to great food photography that you'll learn in this course:

  1. Pick the best location for your photos. 
  2. Prepare and style your food and setting.
  3. Light your food with inexpensive tools like a white sheet and $1 poster board. 
  4. Choose the best camera and settings.
  5. Compose 4 types of shots to get all the best angles.
  6. Edit your photos to make them look even more tantalizing!


Tell your food's story!

Our goal is to teach you how to take better photos of your food with any camera, wherever you are. After walking you through the basics, you'll see us shoot 5 different food and drink setups that will inspire you to take your own food photos.

Bonus: Everyone who enrolls gets a composition cheat-sheet that shows how to compose your shots.

Enroll now to get started! We can't wait to see you inside!

Will Carnahan & Phil Ebiner


Meet Your Teacher

Teacher Profile Image

Phil Ebiner

Video | Photo | Design


Can I help you learn a new skill?

Since 2012 have been teaching people like you everything I know. I create courses that teach you how to creatively share your story through photography, video, design, and marketing.

I pride myself on creating high quality courses from real world experience.


I've always tried to live life presently and to the fullest. Some of the things I love to do in my spare time include mountain biking, nerding out on personal finance, traveling to new places, watching sports (huge baseball fan here!), and sharing meals with friends and family. Most days you can find me spending quality time with my lovely wife, twin boys and a baby girl, and dog Ashby.

In 2011, I graduated with my Bachelor of Arts in Film and Tele... See full profile

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1. What is this Course?: Hi, I'm Will Carnahan. And I'm here with video school online and fill Epner to bring you a D i Y food photography course. I'm a professional photographers will a cinematographer. I've been around a lot of commercial food and other corporate videos and stuff like that. We want to create a course that will show you how to do D. I. Y. Food photography. This isn't for a big studio, big flash and light set up. This is for you at home to just pull. Resource is that you have at home or in a local craft store using natural light to make your food photography look super professional. We're going to start our lessons with picking up the ideal location in your house to shoot food. We're then gonna talk about settings and trying to bring out those accents and what kind of utensils to use for your style and your looking food. After that, we're going to go into lighting techniques, had a control Ambien and natural light. After that, we're gonna talk about cameras in the difference between iPhone and phone cameras, versus bigger professional and smaller mere lis cameras. And then we're also going to check out how to compose the best shot with your camera after all that's done and said, We're gonna go ahead and talk about how do naturally adit your food photography and have it be as natural, and it's crisp and vibrant as possible. So if you're ready, let's get started. 2. Choose a Location: So the first big thing is finding a location, and I'm gonna kind of jump ahead in food photography. What I've kind of learned and been taught and you'll hear this a lot is that lighting is king because we want to make this a D. I Y. Course, we're gonna focus on completely natural light. We're not going to use any artificial flashes or strobes or anything like that. So our location is very dependent on natural light. You don't wanna have really, really harsh shadows because you'll start to see differences and food and a look not as natural and appetizing and all that. So. A lot of food photography spitting on your style is done with very soft diffused light. Imagine the sun coming and really, really hard, and it's just really bright and creates his deep, deep shadow. Diffused light is like basically putting a white bed sheet in front of that son and and spreading the light out so it's nice and soft and easier on shadows. That being said, shooting inside is much easier than shooting outside where there's this harsh sun. Now again, what's easier and finding natural light is just finding a really nice window where there's light coming in. We want to find a window where we're going to get less hard light throughout the day. Now that being said where we are, we're in Southern California in Los Angeles and we would want to aim for kind of a north facing window because that will be a consistent light throughout the day. If we waste west, the lights gonna get brighter As the sun starts to set, It might start poking through if we face If we have a east facing window, we might start to lose light throughout the day as the sun kind of moves over depending where you are in the world. This may change on but also may change based on the weather and things like that. Today is kind of a cloudy day s o a lot of the light coming in tow. Phil's apartment is very diffused, so we kind of got lucky with that. But you kind of just want to be cautious. So I'm here in Phils Kitchen. Kitchen is obviously where you kind of want to start looking for your window, mostly because this is where the food's gonna be and you could potentially use the kitchen as a background A supposed to creating your own background, which might look nice later. So let's take a look. There's really only one big set of windows right here. They've got blinds in them. The sink is right here, which is kind of a bummer. I think of a sink weren't here. This might be a really nice spot to shoot. These don't open. It looks like because this is here. I also know that that's East. So if we start shooting this direction, I know that the sun is going to be moving away from us here, so it's gonna get darker as the day goes on. I'd like it to stay as consistent as possible. So there's a big window over there in the dining room area. So let's go check that. So this window is great. That was north, so we've got a north facing window. It's pretty big having a bigger sources. Nice little cover, a bigger area. The kitchen is back there, which I just came from so I can shoot from this way and have depth. Or if I wanted to, I can shoot from this way and create a background cloudy outside. We're in Southern California. Often. It's not that cloudy, but we got some nice diffuse light. If I wanted to defuse this more gonna hang up a sheet. So this is great. So let's get a table that we can now set in front of here at this height at the bottom of the window. And, uh, we can get started with our next left, so that's nice. 3. Design Your Food and Setting: Okay, so let's talk about prepping your food and your setting. The big thing here is to kind of make sure that your food doesn't look alone and we kind of busy it up with a story. And so that means, like accenting it, adding some depth when we start to shoot everything here we found at Phil's apartment. So that's a big thing for us today, right? We're just kind of using what's available without having to go out and spend money, but still creating something that looks nice. Your home. You may have a different style, so everything may look a little different. The big thing is to kind of find things that are gonna work with the dishes that you're gonna be showing. We're going to start with a bunch of different dishes. But for this, listen, we're gonna be making a salad shooting the salad throughout, and then we'll shoot a bunch of other stuff. So everything you see here is what will be using in most of our configurations. We may add some other things that we find. Let me show you some examples of what we've got here and what we found around the house. We found this nice wood cutting board that he's got. It's got some nice grain and texture along with the table we found. It is small table, but it's what we got. So we've got two types of wood that we can shoot on. In addition to that, we found some silverware that's very shiny. Maybe we'll make a milk shaker. Put a beer on it. Later, we found some limes and lemon that we can use to add some color to some of the shots. Depending. Maybe we'll do. Margarita, I don't know. Um, found some really cool looking wood coasters that we use. We can kind of spread these out. Maybe they'll be out of focus. On the key again is texture. We found these really cool salt pepper shakers. I found them there on his dining room table, but I think they have a nice shine to the light. You can kind of see how reflective they are. These air, some napkins that feel just had, ah, in his house again. It's something that you want to use that works cohesively with your story, and we're trying to tell, Okay, so let's get into setting our setting here. We've got our salad that Phil created with some toast on the side. Basically, we're going to place this down and figure out what looks the best around this particular food item for you playing at home. Go ahead and take your dish, whatever it may be, Um, and just try to basically design a world around it that tells a story and applies itself. Phil and I obviously not world renowned chefs. So what? The key thing to do here is just make your food look as presentable as possible. Um, and as clean as possible. So let's go ahead and figure this out. I'm gonna go ahead and place this down. I think we're going to stick with this Wood boards that really like the texture. Um, and let's see what makes sense here. We will take out the milkshake spoons and probably take out the knife. Um, right here. Obviously, the old women isn't really fitting as well, so let's take full limit and limes out. Save those for something else. Tomatoes look good. The oil and vinegar also look good again. I'm shooting this direction, the lights coming in this way and we want to create kind of a sense of background, a sense of texture, everything that we can do to kind of just tell a story, create an atmosphere and and just really kind of tryto accent everything that's happening on the dish itself, some using the kitchen as sort of a background but also using the setting as a background. We shoot from this angle. We don't have or need a background where, as we were shooting this angle, it just depends on the type of food that you're shooting the salad. It's little bit different. We'll get more into that. Compositions could pick out a little color here of napkin just to kind of set the scene. I think I'm going to go with this. I don't want to overpower the salad. The yellow would probably overpower it. This little more diffused. So let's let's go ahead and use that. Make it as presentable as as as possible. It looks nice. Then we'll take, uh, fork. Put it there and again. I don't want to focus on these things like they're going to be out of focus, but I just want to add atmosphere, story, um, make it look appetizing. This looks like a nice place where I could sit down and have a meal. So one thing real quick on the salad and the white dish, we kind of selected a white dish, and that's kind of typical practice. I mean, you can probably tell most professional restaurants are gonna be serving things on white dishes, really toe accent, the color of the food. And so it doesn't get lost in like a dark or black dish. The cool thing about this also is when we put it on our wood and put it in our setting. It really does separate the food itself from the background. It's kind of like having a white canvas with colorful painting. So white dishes air really nice, and they also look great with really diffused soft light. So again, the idea here is to create a photograph that's really going to be appetizing and kind of warm and inviting. You can see really quickly if I just pull some of this stuff to the side, just ah, plane plate. It's It's pretty like it's a nice salad, but it really isn't, you know, into not inviting. It's not like Hey, I come sit down for dinner and join us. Whereas as soon as I start to add things, it really is more of a setting place for you to kind of be invited, too, and have friends over. You know, it's sort of, Ah, nice invitation, sort of sort of thing. I know that's a little silly to say, but you can kind of tell This is much more inviting, more homey, less sterile. It's it's much more inviting. It's like, Hey, comes, sit down, enjoy it a nice meal And that's what you want to do with your photographs, right? You want them to be appetizing. You want them to be inviting. You want something to look at and be like, Yeah, I'd sit down and eat that salad So now you can see that all of this together in this nice storytelling atmosphere, it's more inviting. It's more. Sit down and enjoy this salad. There are plenty of other styles of of settings, you know. It could be, you know, would a different type of wood. It could be a different type of food. The idea here is to just create your style and have it be a za appetizing and as inviting as possible. So that's this lesson. We're gonna move on. Teoh had a light next 4. Light Your Food: so Lesson three is all about lighting. Now, lighting is really dependent on the kind of style that you're going for. For these purposes. We're going for a natural kind of inviting style, which is typically the norm. You can go into a darker, more contrast year, night life kind of style. But we're sticking to natural light and very soft light coming in. So in order to do that, we have our north facing window, which is right, gonna keep our light consistent all day, which is gonna let us shoot. We're not going to get any harsh lights coming in from the sun. Everything is diffused in this particular place. There's actually a white building outside there, and the sun's hitting it, which is bouncing even more light in. So for us, it's kind of nice having this really calm light on a cloudy day. Would be dust is nice and having some nice soft light, and we're gonna play with two different types of diffusion and two different types of bouncing light and negative. Phil. So let's start off with just the regular light that we got right now. Let's see what we got. So I'm gonna go ahead. Um, and we'll talk more about camera composition later. I'm gonna go ahead and take a shot. Right now I'm at a to eight. I s 0 400 I'm shooting at 125th of a second. We'll get more into camera stuff in the next lesson, but for now, here's our shot. It's a pretty nice, even lit soft light because of the window. Now let's add a sheet. What I'm gonna do is just a very basic again stuff that you confined in a house white bed sheet to diffuse the light even more. What I'm doing is just hanging it up to cover the entire window, and this is going to allow the light to still come in, but it's going to keep it softer. So now the let's diffused even even more. We're going to keep the same settings on our camera there. And so now you can see going back between the 21 is a little bit brighter. Has the shadows a little harsher. You can see under the plate and the other one, it's a little bit softer. It's also a little bit darker because we didn't adjust our shudder. We're just gonna open up a little bit with the shutter, take another shot. And now you can see the difference between the two. You can see they're still around the same brightness, but the light is a little bit more diffused and a little bit softer. Another thing that happens because of that she is The color temperature has changed just a little bit. And so you can correct that later. Or you can kind of decide what kind of lighting that you want. I think for this one I would probably go with the diffuse light because it just looks a little warmer. It looks a little softer. Looks more inviting. Is this a nice, a vibrant kind of idea? We want to add a little bit more contrast. I'm gonna add some neg fill, which means I'm gonna keep the light coming from over here and try and, like, shape some kind of darker sides on the contrast, decide on the right side and not allow for some more shape and more sort of contrast within the food itself. So for that, we went and bought a dollar black foam core on. Basically, it's really just to suck up the light coming from the other side of the room, depending on where you're shooting, there's no real close wall on that side for this light to bounce off of, so this isn't going to do much. But depending on where you are, you can take this and get it as close as you can to the food without actually getting it in your shot. And I'm just doing it by hand right now until I get into my frame and I'm gonna back out and I'm gonna go and take a photo with the same settings and take it away. And now you can look at your difference between photo and other photo. There's a little, little tiny bit of darkness in it that adds a little bit more contrast that I think looks a little bit more professional. Notice on the fork if you go back and forth. The fork has added this nice, dark layer of contrast and also adds a little bit more shadow coming in in the back, running on the napkin, which I think looks way more professional. So let's go ahead and figure out a way to fix that so we can take a real shop. So what do in house? I'm just using a chair that we have in the apartment to basically figure this out. And basically, this is around the spot that I put it at, and it's basically adding this contrast that we talked about. I'm going to get a piece of tape from here to here, and it's gonna lock it down. I'm gonna put that tape there. But that tape there, this is very, very d i y rudimentary. This thing's very light. A little piece of tape like this goes a long way, and now we take our shot and great so that darkness is still there. The contrast is still there compared to our shot beforehand, which is a little bit brighter and a little bit less contrast again. This is style preference. So another thing if you wanted to make it brighter is that you can add a bounce card depending on how much light is coming in. Basically, replace the black with a bounce white card toe. Add in some more like So the only reason I would use this is if we didn't have enough light coming in and you want to delight the front a little bit more. We're in a pretty ambient room, so it's gonna be kind of hard to show you this, But with the bounce card, you can kind of see that I would take this and try and bounce this light onto here to kind of add some more, some more brightness and some even lighting. So again, I'll put it right here and take a shower. This bounce card will basically fill out the shadows on the other side of the food, so it'll be less contrast. Um, or even this style is you know, something that you may like more than the contrast he style. But check it out. Look at how dark and contrast e it is with the black fill versus the positive white light coming in as the bounce card fills in. This is really just tools for you. If we were to take down the white sheet and use the bounce or change any sort of configuration, you'll be able to achieve different styles. So really playing around with that and finding what you like the most is really gonna help define your food photography and the way you like to shoot. So that's lighting was very basic. D i Y bounce and soft lighting very quick. I know if you have any questions, feel free to ask us, and we'll get back to you. We know when we want to what kind of cameras you're using right now. I've been using a mere list camera, but let's talk about iPhone and phone cameras versus professional and pro Sumer cameras. 5. Camera Options: Smartphone vs. Fancy Camera: Okay, So what kind of camera you're gonna be shooting your food with? I wanted to talk about this because I know a lot of people want to use their phones or their smaller cameras or their point and shoots. So I kind of wanted to talk about the difference between the two. Now, obviously, the quality of an iPhone or any sort of mobile phone will be different than a larger, more professional, pro sumer camera. The camera musing right now is a mere lis Fuji X T one with a 56 millimeter lens. I have right here an iPhone six plus on, and I just kind of wanted to show you the differences in Look, the big thing with professional looking photography is the depth of focus and the ability to control the exposure and see into contrast, basically, basically, seeing light versus dark with a lens and interchangeable lens, you're gonna be able to create that depth of focus much more easily than you would with a phone. Now, let's look really quick at the same compositional shot from a phone versus a mere lis camera. So you've already seen sort of our shots from Army airless cameras. Let's go ahead and take a shot again. Just so you have reference, this is with the black negative fill that we talked about in lighting over our salad that we created with our kind of look. Now let me move the mere list camera away, and then we'll go ahead and try and shoot the same shot with an iPhone. So if we stand right here right away, we can see were too wide. So we're gonna go ahead and zoom in and get the same similar shot that we had before Toronto and sacrificing the quality and the pixels of the camera on the phone because I'm zooming in so much. So let's zoom out and see if we get full frame and get closer. It's a little bit harder cause of our placement of our card, so I would move our card back. But let's just take a shot here for now, just to see, and we can crop it later so you can see it on the iPhone, The shots, pretty much all in focus. There's not a lot of depth of field. There's not a lot of shallowness, whereas the mere lis Fuji shot with the prime lens and the 2.8 aperture, which is it was just the aperture of the phone adds the step that focus that really looks more professional, more high quality, so you can create a great shot with your phone. You can also create an even better, more professional looking shot with a mere list or DSLR camera with an interchangeable lens . I feel like if you're trying to maximize that professional quality, look, you're gonna want to go with the photography camera, like the camera that's meant to do photos as opposed to a phone that has a camera on it. Other aspects of it would be the actual digital file megapixels on these cameras on the bigger professional cameras will get you more space in editing later, which we can talk about having looks into the shadows and pulling back the whites and all that versus a phone, which is much harder to have that dynamic range and be able to color and add it as much as possible. 6. Camera Settings (for people shooting with manual settings): So those of you who are using mere lis or DSLR cameras or camera where you can adjust manual settings, let me really quick just go over or the settings that I use for exposure. So the three settings that you always want to pay attention to and this is some basic photography R i s o aperture and shutter. So all of those air we're going to use to create the exposure that we want again exposure's gonna end up on your specific style and the lighting darker, if you like. Brighter if you like, depending on which way you're going. I eso is where we'll start. So depending on your camera, you may want to adjust your eyes. So and that meaning sensitivity of how sensitive your camera is to the light coming in. So I am gonna be able to shoot her on 204 100 with this camera, which is where I like the bummer part about I S O is if it's darker and you start bumping up your I s o, the grain is going to start coming up, which isn't always nice to look at. So depending on your camera, you want to a manias, so where you'll get enough light in. But you're also not see too much grain because that will start to look not as clean and a sharp. The next thing you want to look at is your f stop your aperture. Now this is kind of Ah, another style choice. It's probably one of the ones that I adjust the most. But the lower the F stop number, which means the bigger the whole that the light comes in, the more that will be out of focus. So if you shoot wide open, if your lens can open up to a 1.41 point two more, things will be out of focus unless things will be in focus. So if you're shooting food, I tend to aim around a 2.8 because I do like that nice soft background. I don't want to open up to a 1.4. This lens will go to a 1.2. It might be a little nutty, and some of the food might not end up in focus. You can kind of tell already that in our shot, the toast is totally out of focus. F stops really kind of where you want to look at as far as what's in focus on what's out of focus and your specific style. Again, I'm aiming for a to wait at eso 400. The third thing is the shutter. Now I kind of depends on what you're doing. It's nice to have a tripod because we can kind of aim at it and set up our composition and let it sit there and walk back and forth as opposed to bringing your hands up every time. So your shutter is really gonna be the one that you're adjusting the exposure to pick your eyes. So pick your F stop. Now pick your shutter, depending on if using a tripod or not, we've been shooting at 1/60 of a second, which is kind of slow, but because we're on a tripod were able to shoot as low and as high as we like, which gives us a lot of room to make decisions based on our I S O and R f Stop. If you're not on a tripod and you start to move, I'd say below 60 closer to 30 and even lower than that a second, you'll start to get some camera shake because it will start to see the motion of the light moving around. So it's safe to be on a tripod if you're gonna have those lower shutters and depending on how bright your window is, what time of day it is and where you are in the world. So all of these settings cannot necessarily be done with an iPhone, which is another major difference. Let's talk about the lens choice really quick. I'm using a prime lens. It's a 56 millimeter on a mere lis crop sensor, so, really, that's more like an 80 85 type of DSLR lens. I have to step back a little bit because it's not necessarily a macro lens. For detailed shots, you would want a sort of macro lens or a long lens where you can kind of zoom in and you can check that focus to get more detailed shots. We'll talk more about compositions in the next lesson. You can also use a 35 millimeter of 50 millimeter and 85 millimeter. Really, Just finding your style on what you got is the best way to go about these things. Kit lenses for Canon Zorn icons You can find a cheaper 35 millimeter 50 millimeter lens online on, and they look really great and add a lot of depth of field for your food photography. So if you don't have a mere list or DSLR camera with interchangeable lenses, you can always shoot with your smartphone and still get a quality photo. You'll have more options with the bigger cameras, but you're always able to shoot with any camera you have. And the next lesson we're gonna aim at different compositions and how to position yourself to shoot your food. 7. Compose Your Shots: There's four major angles that I always try to shoot when I'm shooting food, there's this angle, which is kind of a 45 degree angle, which is always the one I end up using. There's a flat angle or more of like a hero shot that's more on the level of the food. So that's really going dependent on your background and then was getting really popular nowadays to is the overhead shot and we'll try those. And then there's also detail shots. So let's go ahead and start with a 45 degree angle shop. So here, I'm kind of just at my normal stance. I'm about 57 and I'm looking right at the food, and it's kind of exactly what we've been shooting. What you've seen, I'm gonna back up just a little bit. We've taken out our negative Phil so that we can kind of show you are compositions and you can see everything. So this is much more about compositionally got our settings going and let's snap away. So the cool thing about this shot is again. You've been watching this throughout the lessons, but you see kind of all the details, the background has really become really just the table itself, and we're focused on how you would normally sit at a table and eat. It looks a lot more appetizing, and it's a little more nice to people that they have seen this image before every day of their lives. So let's talk about kind of our hero shot. This is more on the level here. It's not gonna work as well for a salad, but check out these other shots where it's right on the level you're able to see more of the actual food itself because it's kind of protruding and not in a bowl or a plate. I'll show you with the salad. What we would normally do would be finding a background. And for us remember that kitchen in the background we're going to use that as kind of our were in the home, were in the kitchen, which is a great thing to do. If you don't have a background like a backdrop or like a wood plank or something, you do just use your kitchen or your house or something in the back room that will be way out of focus, so let's step back. We're gonna be on the level of the food. We're gonna get back to our normal settings, focus on our salad so you can see this is really incorporating our style and everything that we have in the background. We have a fork in our napkin and the food is front and center. We can see it. I think I might actually, for this rotate the toast and do it again because I want to be able to still see the toast and still gain that look. Right. So here the toast is rotated, weaken, See it a little bit better. And the food is right front and center. What a good looking salad. So now let's do the overhead shot. I'm still using my 56 millimeter on my crop sensor camera, and that's still around in 80 85. So I'm gonna get on a chair to see how high I get and see if I can still capture what I'm trying to get. If you have a zoom lens, you might be able just to get up here and zoom out a little bit. Um, if you have a bigger tripod, you might also be able achieve this Luckily, my screen pops out a little bit, so I'm able to just center. So the best thing to do is just our tables. A little small, so you can still see are kind of settings. There are toast ourselves there, take a shot, and I would probably add in some negative Phil or some bounce from my style. Um, and you could just pull that right up like we did before. I try to center the play as much as I can, because that's really the main focus of what we're trying to dio. There you go, and that's an overhead shot. You probably see these on Instagram a lot. It's getting a little bit more popular, and it's really nice because you really see the layout in the lines of everything. And most things are gonna be in focus because they're all in the same level, right? So check out these other shots with other foods. You can see how you can see the circles, the lines, It's appetizing. It's interesting. It kind of is a good menu item. So depending on what you're using with your food, you can show he's kind of anywhere. So for the fourth composition is detailed shots. Now this lens I've been using my 56 millimeter. I know. Right off the bat, it does not get me that close of focus. So I'm gonna change it to my kit lens, which is something you guys all probably got with your cameras. And this one's actually kind of a cheaper 55 to 18. This will allow me to get closer detailed shots. Now you can see the light keeps going in and out, and our video is having a little bit of trouble to because the sun is going in and out in those clouds. You just kind of have to stay on top of your game and pay attention to your settings and adjust accordingly. So let's get up close. Um, you can see already I'm losing some light, so I'm gonna I eso up or slow my shutter down a little bit just to achieve these detailed shots. And here, depending on what you're doing, I'm just gonna get a nice, close up shot of the food, the detail and everything I can the bread a swell. And you never know if you're shooting this for a client or If you're shooting it for a blawg or just to show on Instagram, you always want options to show. Sometimes want you for a client to I'll shoot the little the vinegar and oil or the fork or the tomatoes. Just stuff that really like kind of accents, the whole mood because you never know what you're gonna be using this for depending away you're doing. If you already know what you're using this for, you want to make sure to get those detailed shots and the shots you need specifically. All right, so that's all our compositions. Remember all 4 45 degrees hero overhead and details between those four. You should be able to cover your entire food for any reason or anything you need, Whether be menus, Blog's Instagram's just for fun, postcards, whatever you really need. So just remember to keep your options open, keep your eyes open and use your compositions in tandem with what we taught about lighting . Try to figure out where you want your composition to be, and then bring in that neg. Phil. Bring in that bounce guard and try and work around, and it's a delicate balance of finding that correct perfect shot 8. Edit Your Photos: everyone, this is Phil, the man behind the camera. For the rest of this course Today, I'm going to walk you through editing your food photography. I'm going to try to simplify it as much as possible so that whatever photo editing software you're using, you'll be able to understand the three key points in the three key things to do with your photos. I basically pare it down to crop color and exposure. So with cropping, we're just going to adjust the way that the photo is composed. Using cropping with color. We're going to change the saturation of our food to make it look more colorful. And in the last part, we're going to expose properly changing whether we wanted to make it brighter, darker or parts of the image brighter or darker. So here I'm in light room and again I'm going to try to teach this in a way that whatever program you're using, you'll understand whether you're using light room Photoshopped. I photo on your iPhone on your android. There are usually features to crop. There's usually features to change the exposure and change the saturation, and that's pretty much all I'm going to be doing later on, I'm going to talk about a special few features that light room has that your editor might have that are cool to play around with. But for now, let's start with Crop. This is the photo of the salad that will took in the very beginning and weaken. Scroll through some of these and see, Let me find one that is actually another one that I would doom or cropping on because, well, did a really good job composing this image. Actually, so say, Take this one and I can open up my crop feature and this opens up my crop module where I can basically zoom in, zoom out, rotates slightly, Say we did want to just zoom in a little bit more on this salad, make sure that it's in the center of our frame because before when we were resumed out all the way, it was actually a little bit over to the left of our frame. So we're just going to zoom in to make sure that this is directly in the center. Maybe put it down at the bottom a little bit so that the sound that's actually in focus is in the middle. You don't necessarily always want what you shot to be in the direct center. But for this photo ideo. So I'm going to crop it that way just by using crop tool assuming and a little bit and pressing Return on May keyword. Okay, so I'm happy with my crop. The next thing I'm going to do is skip down to color or saturation. So have this saturation bar right here and again. Whatever you're using, you might have a little bar Isam numbers that you can increase your decrease, and if I increase is all the way, you'll see what happens. Wow, that is way too saturated. But it gives you the point that I'm trying to make that this bar helps you de saturate or increase the saturation. You can also plug in numbers specifically if you have a number in mind. So I would just look at your photo and see, doesn't need a little bit more color. Will's camera, the settings, the raw settings that he's using. Typically, it will need a little bit of a boost in saturation on its Fuji camera. If you're using an iPhone or a smartphone, it usually adds a bit of contrast and good saturation that you might need to not need to increase. You don't want it to look unnatural, but you do want the colors to come across through your photos. And just this compared to if I bring up the comparison, the right compared to the left, it looks a little bit more bright, inviting, colorful and tasty, so boosting that saturation can help. The last thing I'm going to do is play with the exposure, and this is where the beauty of shooting and raw file mode helps. Because these shadows and the brights of your image can really be manipulated. On most photo editors, there's going to be an exposure bar where you can just increase or decrease the exposure of the overall picture. So what this is doing, it's brightening up every single part of my photo or darkening it. And this is good because sometimes if you are running a blogger putting photos in a magazine. Ah, lot of food photos are very, very bright now. Will loves the more contrast it a little bit darker photos, but I actually tend to like some more brighter photos, and it's really your style. It depends on what you want to do. So with this bar, as I mentioned, you can increase or decrease this overall act exposure of the whole image down below. We can actually change the exposure of different parts of our images. So here we have our highlight shadows, whites and blacks, and you might have something like this on your photo editor as well. For example, if I take my blacks and I increased the blacks, you can see that is really just affecting the darker parts of the this image. So these shadows under the plates under the leaves of the lettuce, this dark of the pepper back there. So if I increase or decrease that, you can really see what's happening over here on the left, this vinegar that's really darkening. And if you do want to add contrast to your photo, you can do it that way by decreasing them blacks and then increasing the whites or the highlights. Contrast is basically how dark your darks are and how bright your brights are, and usually having a more contrast, E image will make your food look a little bit better, a little bit more appetizing. and again. That's what will was doing in person live when he was using the black and negative Phil Foam board versus the white bounce card. That's what he was doing live in person. But you can also do that kind of thing in post. In terms of just adding some contrast, I can also play with the shadows, which are not as dark as the blocks. That's kind of the mid range dark since from the middle graze to not quite black. And then the highlights, which are brights but not necessarily white. So I can. If I boost this, it's controlling some of the whites and this this salt in the plate and so boosting that might a little bit might make it look a little bit better, too. So if I look again at the comparison, I couldn't do some different comparison views. You can see here on the right. Very bright, colorful, nice, appealing On the left, it's a little bit dolar, but again it starts from the very first image that you shot with. So let me just reset this. I'm just gonna undo original photo, then to our final photo. Hopefully you can see the difference. And this one, hopefully you think is a lot better. So let's move on to some mawr professional advanced techniques that you can consider doing for your images. I think I'm going to go over to my key lime tart. So let's take one of these key lime tarts. This has some greens in it, but the greens aren't that vibrant. Now I want to make the colors more vibrant, and I could just take the saturation and boost the saturation a lot. But what happens is that the saturation of the orange and the yellows in this tart itself get boosted. The saturation of the Browns and everything else gets saturated as well. What if I just want to boost the greens Well, in light room, what you can do is go down to these H S, L color and black and white module down here. I can actually take this color picker right here, or by going down to the green slider down here. But I'm gonna use the color picker and I take the color picker. I go over to my image. I select the color that I want to effect, and I click and drag up or down. Now, if I drag all the way down, you can see what happens. It takes away the color of just the greens and the yellows that I'm picking right now. But if I boost it, it really increases that green without increasing the yellows and oranges of this tart. Now, if I select this tar and I want to boost that color, I can do that. Maybe I'll just take a little bit of the yellow right in the middle of the tar and boost that. And so that's the way that you can boost the colors of a specific object. If I go over to my soup, for example, let's go back to our soup photo and I do it here. So I take my saturation and I go to my read. I can really boost or decrease the saturation of my red without affecting the greens. Or maybe I want the greens to pop out a little more. So decrease the Reds make those greens pop out, made the greens. I want to de saturate a little bit and so that the Reds pop a little bit more so you can pick a specific color that you want to increase or decrease the saturation of. Now, with all of this, you don't want to go crazy because you don't want it to be unnatural. You want your colors toe look appealing and appetizing. And if it looks like it's some sort of color added to it and a national unnatural, it's not gonna look good. One other thing. I wanted to show you the power of shooting raw images. One of the photos that was a little bit dark was this photo of the coffee beans and the coffee. Hear what I would do is go up to my blacks and shadows and boost those so you could see if I boost my blacks and my shadows. Look how much detail comes from the darkness within here. You can see this steam actually coming up from the coffee. Let me zoom in here, and then I will decrease the shadows. If I boost the shadows, you can see the steam in there, actually, which is a cool thing to do, and you would only be able to get that detail from the darkness by shooting raw and again. That's what the differences between a smartphone photo and a photo to shot in raw mode using a professional or pro Sumer DSLR or Mirrlees camera. Okay, so that's pretty much it. That's what I wanted to cover with editing your photos. Remember, you want to crop to make sure that your composition is perfect. You want to color and make sure that the saturation looks good and make sure food look appetizing. And then you want to expose and change the exposure of your photos so that it's as bright or dark or contrast ID as you want. Let me know if you have any questions. Otherwise, thanks again for taking this course and we'll see you in the future. 9. Practice: Morning Coffee: Okay, so film it's a nice cup of coffee and let's take a look at it. And I think here we want to try and tell the story of coffee or kind of work coffee comes from, or the fact that it's a liquid out of coffee beans. Eso maybe. Let's grab some coffee beans, some napkins so we can do right. So I put some coffee beans in this little bowl we put this year, and then we've got the roasted bag these came from. Maybe you feel a little bit on the would see how that works. I might look cool. We just spread some out a little bit. I mean, it's all about really texture and kind of finding some detail. Um, in it, they kind of get lost in the wood a little bit, so I don't know how it looks. And then, um, we will put the bowl near it, so I kind of like that. Yeah, that looks a little bit better. Share that space a little bit there, coffee, and then let's leave the bag out here. Maybe we can put this out of focus background. I really want to advertise for these guys, but here we go. My shot will be there. Take a look. Maybe I'll send it a little bit. I still see the bag, but let's just see if it'll be out of focus. That looks good. Maybe let's add like a napkin. Harry, one of our green napkins kind of matches the color of the bag. Actually, how fortuitous. Kind of like a morning coffee coffee thing again, It all really depends on, like your style on how you want to present your your food and your drinks looks nice. So it's fun. So, yeah, I'm happy with that again. All stuff that we found here very easy, very quick looks professional. Let's take our shots. So I'm gonna go ahead. We've lost a bit of light because it's later in the day. The bounce isn't hitting that building outside quite as much so majestic my settings a little bit. We'll do our 45 degree. That looks nice. I think it's a little it's a little harder contrast. You guys cause the coffee bean there so dark. So because it's so dark, I'm gonna start with the white bounce. We're getting some more white bounce to fill in those shadows. And because the coffee beans are kind of dark, it's kind of frightening those up. And it's also adding a little reflection on the coffee itself. Great. So you can tell that the white bounce filled in quite a bit here, all switched out. Put the negative, Phil, so you can kind of see the difference with the same settings. Okay, so here's with our negative Phil or black card. I'm gonna go and take a shot. Same camera settings, same composition ish. Let's take a look so you can see the white white plus thing is adding and quite a bit of light. And it's really getting rid of the shadows and you can see the beans. And it's a nice bright cup of coffee. The white you kind of lose yourself in cause it's so bright. The negative Phil looks kind of nice early morning coffee, although we do lose detail in some of the blacks and the in the beans where you can kind of fix that in editing, and Phil will show you a little bit of that later. But the real cool idea is that you have options you can change your style. Figure out what best works for you. So let's maybe simplify the setting a little bit and let's see what a different style might look like. Let's simplify it. Take some stuff out. Let's take out the plate. Let's take out the bag. Let's maybe even just turn the cup a little bit, Maybe stylized as being just a little bit more. I like that. But I really don't like the knack it very much. It's kind of taken away from the simplicity of it. Let's bring this closer so we can see background. Let's like, Come on the beans, It's okay, It's a different. It's a different sort of thing. Maybe let's try rotating this and let's put the beans on this side where the light's hitting, filling in between. Maybe that will add a little bit more, really just about playing with what you've got, seeing what you like the most. Now that we've got our lighting set up here and that's nice, I pull this little forward so we can check the background. Awesome. And let's see what that looks like with our white card real quick. Now we got the white card adding Phil getting rid of the shadows a little brighter, a little more Starbucks. He a little brighter. And again you can tell the difference between the Phil and the neg and the contrast versus a bright image. Let me just go around and, ah, do our other kind of angles and shots and show you some details and then we'll move on to the next explains a lot. So these close up shots I'm doing the detail shots. I'm using the black negative, Phil. So you kind of see more shadows and more detail in the cup and the beans. Also, you can see the wood is still maintaining its texture. Um, I'm gonna do some vertical detail shots of the beans. 10. Practice: Key Lime Tart: So we got a key lime tart here. You can see it's just a plate and it's got key lime and fill Cut this fabulous lime right here that we're gonna put We took off our cutting board and using this nice wood table, I think the key here is to take a look at this and maybe try and match color come up with a different background, Um, with stuff that we've got here, you know, we've got some brown kind of burlap e placemats, and we have that green napkin that we had before. So let's start with that and see what that looks like. Instead of doing the whole thing, we might just try and kind of little bit an angle just to still see some of that would in there. And then we'll go green, right, Do the same thing. So now we got some. Get some colors going on. Get the brown here. Brown hair green. Um and then we'll go. We'll get our coffee from before. Put it in a new go I ass. See if that stays there. That's just again toe accent. Grab some brown brown. Um, we got some limes here. I know. Match those. We gotta cut line here. Some lime slices. Add to this again. This is very simple stuff, but still looks great having that green color trying to stick around this color theme on this one. And then again with the green napkin Say we fit that guy in there. I like having forks and utensils medals a little hard because, you know, you're worried about reflection and stuff very green. Um, this is a little yellow. I wonder what else we can add. Color wise. Be good to get some color. Got ourselves, lemon. A little bit of an accent here. Work that in there somehow. All right, so let's go ahead. Let's just try and shoot it with a blank frame with just our white diffused light and we'll see how it goes. So we'll do our 45 degrees shot here first, and I'm just focusing on our main dish. Cool. Our main dish looks pretty good. Let's just change a couple things That looks pretty good. Check it out. I am a little unhappy that we're so close to the edge of the table there, so I would say I would move everything forward very carefully, just a little bit. So we get that edge of the table away, maybe raise our angle up just a little bit. There we go. Perfect. I'd be pretty happy to share this shot on, you know, on Instagram Page or anything like that. And again, this is just plain white diffused light coming in with our basic settings that we talked about before. Let's just to see what it looks like. Let's add our black negative, Phil, and see how that looks. All right, So I didn't come as low The normally Dio maybe we should so is a little bit more at an angle. Again, I'm coming a little bit lower. Just toe fill out the shadows and the ambience. Similar angle here. Cool. So again you can see that the main differences and I move the fork a little. But the main difference is just adding those contrast you shadows makes it look a little bit more contrast. He kind of fills in the black, which makes the front part pop out a little bit more. In that photo, I would actually see if I could get this a little bit closer cause it's gonna look really nice in those details. Shots CNC I'm really cutting the light off here. Have to get in here. Get in here really tight. Cool. So yeah, see, my ankle changed a little bit. You can see here, but I really like the contrast in the dark. And just so you guys can see we'll put in the white bounce. You see a major difference. That's definitely a bright dessert. Major difference, in contrast. And its a lot brighter again. This is per saying this to what style you want to shoot, what photos you want to represent or how you want to represent your style of shooting. But again, bright positive versus negative contrast you, Phil. 11. Practice: Tomato Soup: So we're here with our tomato soup. We're going to kind of dress it up a little bit. We decided to dress it up while it's here, Um, so that we'd have to be shuffling around. So let's let's ah, first decided where we want to play stuff and we're going to still use stuff that we found around the house. So let's figure this out. So tomato soup, obviously some tomatoes think would look good next. It readings are same cutting board because that texture looks great. We got our sultan pepper shakers that we use before point movies back a little bit just to add some depth. We got our bread. I'm I just put that here. Um, just kind of kind of trying to style eyes it, um you know, one thing I don't have is a spoon, but can run to the kitchen and get that really quick. So it means the yellow napkin Now think that contrast with the red nicely. Put a spoon. They're pretty similar. Last set up, but a little different on. And then now, just because it looks nice, just gonna put some a little dollop of sour cream there. It's probably gonna sink and then fill grows his basil outside and just try to dress it up just a little bit. I'm gonna put those in there trying to put the green side up. It looks a lot prettier. The white will look a little bit better with the contrast ing dark soup. But let's do both. And let's see how that goes again. We saw over diffused light coming for our window. We're putting our white balance card up close as we can, using our little D I Y tape using Gaff tape right now, but you can use Scotch tape or masking tape. It's fine. I think it's a little bright, so we'll come down on our shutter. Here's our 45 degrees shot. It's pretty nice again. Basic stuff accents around. So far, they get to another, better sense of style is in the background and shooting the actual subject. So after we do that 45 degree shot, we go ahead and do the hero shot. We do the detail shot and we do the over the head shot so you can see that it's a whole nother style. Same stuff, same areas, same lighting set up, and it's just a little bit different 12. Practice: Cereal: All right. So we're gonna do one of the most classic breakfast is right, cereal. So I've got, like, you know, that typical placemat gonna go back to our table, set this down. Gonna go get my bowl of cereal. So here we go. We use a bigger, thicker bowl. Um, we didn't actually put any milk in it yet. We actually have the milk in the glass. Kind of set the stage a little bit. We put a lot of cereal in there. We also bulked up the fruits just in the top. Think the milk. It's good. The milk son in there because they float around. All right, so let's add, um you know, if you can tell, I'm really digging the napkins. It's good to go get some nice, stylized napkins for what you're doing. Spoon balm still in color. Okay. Breakfast banana again. I'm gonna put that closer to the background. Just add some color in the background and bring it like I might actually moving closer together, pull us forward a little bit. I don't see the inside that strawberry kind of looking at how the light shines against the strawberry and there's gonna be some black or contrast right here. All right. Here we go on, take a shot without our bounce stuff to see what it looks like you were at. Okay, so are 45. Degree. I'm gonna pull this stuff a little bit closer so that we're away from the edge of the table . I don't have to worry about the background as much. Cool. All right. That looks pretty good. Um, actually, it looks really good. You still kind of see some of the contrast is not as contrast use. I think I'd like again. I'm kind of like the stylistic with the contrast in the darker on one side. Maybe a bright breakfast with the white bounce might be better. Maybe one thing we might try to is just adding some serious frankly. Oh, too much. I need to be careful. So you clean it up. Style I some around transmitted, messy, but still appetizing. Straight again. We go. It looks a little bit more fun. Got some cheerios on the side. So let's try and add in our black negative fill and go through the lighting. Okay. I've got our negative Phil kind of closer in there and then. So the cool thing about this shot having that negative, Phil, you can really see that it brings in some shape on the spoon, which is really cool. The reflection is actually just the black part. If you had a bigger, blacker foam core that will make that shape of the spoon look better. Also, it makes the spots on the strawberries and this side a little bit brighter, which I think make it pop more. Um, let's try it and see what it looks like with the white bounce because that might be early morning bright breakfast, some kind of positioning the spoon so that the white is the reflective part as opposed to the black. And that's kind of a trick and reflective things. Car commercials do that quite a bit, actually. Using big white bounce surfaces and black bouncers is too shape metallic objects. Let's take a picture here. Oh yeah, so this is significantly brighter, and you can tell between the three photos between the regular bounce with just a soft and the ambient, and then the negative Phil versus the bright spot. The bright looks actually pretty good. It looks little more breakfast e I think it actually might like that a little bit bored. Metter. I also think using the negative or the positive white bounce looks better on the metallic spoon because it's so shapely that helps a lot make it bounce a little bit more. So let's do our other shots and see what else we can do. 13. Practice: Beer: So sometimes time is of the essence with depending on what kind of food you're shooting. We have a beer here, and we're going to pour it. And I want to make sure the foam is perfect at the top. I just know from experience shooting glassware. I'm gonna want my black negative, Phil. And I'm also gonna pull this curtain down so that I get harsher, harsher light. It's not gonna be really harsh light, but it's gonna be a lot stronger, a little bit stronger then we've been doing before. So now I know that could take a look at this. And I can see the reflection of the light broadened by the black contrast on the right side , which I think will look great. Make sure that opening run away from your camera. Did you see I shook the beer at the end there. And to get that phone to get the top? I'm gonna go quick here so that I still get this this phone here. When I move some of these things, I just want a plane. Beer on would top. All right. That looks pretty good. Actually. Would probably use a darker wood if I had it. Well, that's pretty good. What? We have it here. Let's Ah, since we have a little we have another beer. I'm gonna go and add in a darker wood we've been using before. Justo, give it a little bit more information. I also have this beer here. Gonna added an orange again. Just trying to tell the story tryingto capture the life and attitude of what we're doing here. A little bit of foam, not a ton. Still looks nice. Take this. Get our angle here. Going, man, that looks good. Cool. So you probably get better at pouring appear. But the object is time. And then also trying to know exactly what you want to do. Light wise. Now just going for some detail shots, maybe drink this a little bit and keep going. 14. Thank You: thanks for taking a course. I just wanted to take a moment to say Thank you. And if you guys have any questions, feel free to contact filler. I please check out video school online dot com, and you can follow me on instagram at William Carnahan or check out my website at William carnahan dot com. So here's to you guys. Happy food shooting cheers.