Bowl-ed and Beautiful

A hoarder by trade but a minimalist at heart, bridging the gap between these disparate impulses can be a herculean task. Dishware stacks up in towering piles on every shelf of my small living space, populating the cabinets and drawers, overflowing into the outdoor shed, and still it’s a strain to find homes for every odd garnish. A riotous collection of colors and shapes, few pieces match a full set, but each one can command equal attention in the right scene. Such is the struggle of the average food photographer, forever adding to the archive of possible plating options. Particularly unusual or unique finds hold particular allure, but truth be told, it’s inevitably the simplest options that get the most play.

Everything looks good on white, setting off any food in sharp contrast like a bright spotlight, allowing the recipe itself to shine. Clean lines draw the eye smoothly around the composition overall, comfortably guiding a visual path back to the “hero” of the moment. Bowls like these are invaluable because no matter the theme or concept for any given assignment, these supporting actors always play a crucial role, without breaking a sweat.

Quality whites are essential even if you aren’t building a feast fit to photograph. The gentle plunging rims of these cereal bowls are an ideal example of form meeting function. When Sweese approached me with the opportunity to share this set, I couldn’t believe my (and hopefully your) luck. I’ve found myself using them for daily meals as well as more fanciful composed photo shoots. Win your very own set of four 28-ounce porcelain bowls by leaving me a comment about what you would serve in them first! Log your submission by following this link to the official contest page and find more ways to enter while you’re there. You have until July 25th to throw your hat into the ring; don’t miss this chance to make a bowl-ed statement!

Winning may not help control the overzealous prop shopper, but at least your place settings can look perfectly orderly and uncluttered.

Background Information

Every single photo, be it simple or complex, novice or professional, must always start with two essential components: A subject and a background. Whether we’re talking about people, products, or skyscrapers, it’s the same story. Mercifully, greater control is bestowed upon the photographer lucky enough to work with food, effortlessly modifying textures, colors, and patterns to best highlight the dish du jour. Inevitably cast as the backup singer by definition, photographic backgrounds never get the praise they deserve for setting the scene. Few single components can lay claim to the same power when it comes to affecting the whole composition of a piece in one fell swoop. Such responsibility naturally comes with serious drawbacks, especially when you find your microscopic apartment studio bursting at the seams with huge wooden boards and slabs of worn ceramic tiles. Lest every image start looking the same, it becomes imperative to start diversifying your options, and fast.

Uber Gray Grunge From Ink and Elm Backdrops

For a number of years, I found moderate success using lengths of contact paper as one approach to expand my collection of backgrounds, but this approach has distinct limitations. Rarely do the most useful patterns come in a matte finish, leading to distracting reflections or harsh shiny spots under the glare of strobe lights, especially if there should ever be the smallest wrinkle in the roll.

It was a serendipitous moment of aimless online shopping when I stumbled across Ink and Elm Backdrops. Though clearly developed with the portrait photographer in mind, I immediately saw potential for my inanimate focal points, too. Made of high-quality vinyl, the big question would be how that texture would translate under the close scrutiny of a macro lens. Don’t expect deep wood grain or genuine stone surfaces, but happily, not a single image came out screaming “ARTIFICIAL PRINT BACK HERE! THIS IS ALL A FARCE!” Good news too, since I hate it when my props yell at me.

Heirloom Planks From Ink and Elm Backdrops

Best of all for food photography, these surfaces are highly washable. Go ahead, lay your greasiest potato chips right on top, splash around with cookies dunked in milk; nothing seems to shake these sturdy foundations.

Flexible sizing is another big benefit that traditional alternatives can’t boast. Small squares are available for your basic shoot, but if you want to create a whole Thanksgiving spread on a rustic oak table spanning a couple of feet in both directions, they’ve got you covered, too. Plus, each sheet easily rolls up for compact storage when it’s all said and done.

There is one very serious pitfall to ordering through Ink and Elm, however. Their expansive catalog is so extensive, it’s almost impossible to pick out just one or two patterns!

Brown Out

Of all the food styling challenges to darken any visual artists’ day, the exasperated complaint that a particular dish is “too brown” to photograph nicely comes up more often than the average eater might imagine. Considering how many edibles are naturally brown, not to mention that the act of browning through high heat is what makes scores of culinary creations truly delicious, that’s one huge stumbling block to overcome. Banish those old prejudices- Brown really can be beautiful! With just a little bit of planning and attention to detail, there are many ways to prevent a photographic brown out.

When scheming up the overall color palate for any shot, always first consider the color of the food itself. To allow the “hero” to stand out, you want something contrasting, but not jarring.

Think about the occasion you’re making the recipe for. Holidays often come with their own distinctive sets of hues, but try to go beyond the cliched green-and-red for Christmas or orange-and-black for Halloween. Try to picture the mood instead; shimmering white snow around the winter holidays for a more sophisticated palate, or earthy greens and coppery gold for the changing autumnal leaves.

Take the mood you’re trying to set into consideration, too. Fun, whimsical kid’s birthday cake on display? Go bold, bright, and vibrant with those shades! Cozy breakfast in bed with pancakes? Stick with soft, warm tones that echo the soothing morning glow instead.

If you’re still stuck for the perfect accent colors, consider the individual ingredients in your featured dish. Chocolate-cherry cookies bake up a muddy brown, but a vibrant red-violet background would get the point across quite nicely.

There are no hard and fast rules when it comes to art, but when all else fails, go back to basics. Simple white plates are invaluable for keeping the focus on the food, brightening up those darker shades, and preventing visual fatigue brought on by busy patterns. The same principle applies to white backgrounds as well. Subtle textures like stone, fabric, and wood prevent the food from “floating” in the frame, without fighting for attention.

Emphasize texture so it doesn’t appear flat, shapeless, and quite simply boring. Raking the light across the subject, rather than shining it directly into it, shows off all the nooks and crannies of a cake’s crumb, no matter how dark and plain.

Don’t forget about the garnishes! Nothing perks up a boring, bland-looking stew like a sprinkling of fresh herbs. That bright green color tells viewers, “Look, this is fresh!” no matter how long it’s been simmering on the stove. Depending on the flavors being featured, consider reaching for crushed red pepper flakes, chili threads, salsa, edible flowers, berries; anything that makes sense with the dish and breaks up that sea of flat brown color.

Although these are my most commonly employed tricks for managing a photographic brown-out, that’s just the tip of the iceberg when it comes to creative solutions. Every composition will demand something different, which is where the artistry of food styling and prop styling comes into play. When you have a brown situation on your hands, what’s your favorite fix?

Viva Vida Vegan!


Photo by Liz Crowe

Talk about a whirlwind trip. With so much good food, inspiring information, and of course, lovely people, all crammed into the space of a long weekend, it was stimulation overload for an introvert like myself. It may take me twice as long to fully recover, easing back into the normal routine, but that disruption was more than worth making time for, to say the least.

Until I can gather my thoughts on Portland at large and the amazing eateries I managed to visit, I wanted to share some details from my workshop on food styling. Thank you so much to everyone who made it into the room! I’m sad to have suggested a cap on attendance, having heard so many people were turned away, but that’s one mistake I won’t make again. In case you missed out or managed to sneak in but couldn’t get a handout, here’s the list of the tools that go into my kit. Print at will and use it well!

It was a bit crazed, compressing so much information into just 45 minutes, although I did go over a bit (Sorry, Isa!) which is why I’m very grateful that Liz managed to get a nice shot of my fully styled Pad Thai. To recap, a few of the tips that went into converting that mountain of noodles from sad leftovers into the above blog-worthy plate are as follows…

  • Put dots of sauce on the plate (or pour a bit into a small, separate dipping bowl for a less fancy presentation) if you’d like it to really stand out from the dish. Apply this with an eyedropper for better control.
  • Deconstruct your dish and pick out the key elements. I really homed in on the baked tofu cubes here, since that seemed like the most interesting ingredient in the mixture. As you build the plate, strategically weave them back in so that they’re front and center, without looking as if you specifically placed them there.
  • Dab soy sauce onto foods with a paintbrush (never used on paint) for a darker golden-brown hue.
  • Toss noodles with oil so that they glisten and pick up eye-catching highlights.
  • Add color- Reach for bold, contrasting colors to brighten up a drab dish. Fresh herbs and vegetables are always a good route to go down. (I used scallions, purple cabbage, and microgreens in this case.) Make sure it makes sense, too! Don’t just add ingredients for the sake of design, if they have discordant flavors with your dish.
  • To make a citrus zest spiral, pare away a long, thin strip of zest from any citrus and trim the sides so that they’re even. Wrap the strip around a plastic straw in a spiral, securing the top and bottom each with a straight pin. Let it sit in the freezer for at least 15 minutes and then use it quickly! It will uncoil as it thaws. Since I didn’t have a freezer handy here, I simply went with a little lime twist on the side. For that, cut a thin round out of the widest part of the lime (or any citrus) and then cut a slit at the bottom, between two segments, stopping at the center. Twist the cut edges in opposite directions and set it on the plate.
  • Remember, food styling is about controlled chaos. When adding cashew halves on top, I let them fall where they may to keep it looking realistic. Make a plate look too perfect and it won’t have the same appetite appeal.
  • Add the most perishable ingredients last. That meant the microgreens here, which I did add one by one for equal distribution.
  • On that note, be patient! Build each plate carefully and deliberately.

Thank you to everyone who saw it happen in person! I couldn’t have hoped for a more gracious, engaged audience. It was your feedback that has encouraged me to seek out future demo opportunities in the future, so you certainly haven’t seen the last of me yet.

Fictional Foods, Part Two

For part one and an explanation of the series, click here.

The Corrections by Jonathan Franzen:

Melissa raised the plate on upturned palms. “Cupcakes,” she said. “Thought you might be needing some cupcakes in your life right around now.”

Not being theatrical, Chip felt disadvantaged around people who were. “Why are you bringing me cupcakes?” he said.

Melissa knelt and set the plate on this doormat among the pulverized remains of ivy and dead tulips. “I’ll just leave them here,’” she said, “and you can do whatever you want with them. Goodbye!’ She spread her arms and pirouetted off the doorstep and ran up the flagstone path on tiptoe.

The cupcakes were full of butter and frosted with a butter frosting. After he’d washed his hands and opened a bottle of Chardonnay he ate four of them and put the uncooked fish in the refrigerator. The skins of the overbaked squash were like inner-tube rubber…He lowered the blinds and drank the wine and ate two more cupcakes, detecting peppermint in them, a faint buttery peppermint, before he slept.

A Farewell to Arms by Ernest Hemingway:

I took out my knife, opened it, wiped off the blade and pared off the dirty outside surface of the cheese. Gavuzzi handed me the basin of macaroni.

“Start in to eat, Tenente.”

“No,” I said. “Put it on the floor. We’ll all eat.”

“There are no forks.”

“What the hell,” I said in English.

I cut the cheese into pieces and laid them on the macaroni.

“Sit down to it,” I said. They sat down and waited. I put thumb and fingers into the macaroni and lifted. The mass loosened.

“Lift it high, Tenente.”

I lifted it to arm’s length and the strands cleared. I lowered it into the mouth, sucked and snapped in the ends, and chewed, then took a bite of cheese, chewed, and then a drink of the wine. It tasted of rusty metal.

East of Eden by John Steinbeck:

And Tom brought him chicken soup until he wanted to kill him. The lore has not died out of the world, and you will still find people who believe that soup will cure any hurt or illness and is no bad thing to have for the funeral either.

Eat, Love, Pray by Elizabeth Gilbert:

Giovanni and Dario, my Tandem Exchange twins, are originally from Naples. I cannot picture it. I cannot imagine shy, studious, sympathetic Giovanni as a young boy amongst this—and I don’t use the word lightly — mob. But he is Neapolitan, no question about it, because before I left Rome he gave me the name of a pizzeria in Naples that I had to try, because, Giovanni informed me, it sold the best pizza in Naples. I found this a wildly exciting prospect, given that the best pizza in Italy is from Naples, and the best pizza in the world is from Italy, which means that this pizzeria must offer … I’m almost too superstitious to say it … the best pizza in the world? Giovanni passed along the name of the place with such seriousness and intensity, I almost felt I was being inducted into a secret society. He pressed the address into the palm of my hand and said, in gravest confidence, “Please go to this pizzeria. Order the Margherita pizza with double mozzarella. If you do not eat this pizza when you are in Naples, please lie to me later and tell me that you did.”

So Sofie and I have come to Pizzeria da Michele, and these pies we have just ordered — one for each of us — are making us lose our minds. I love my pizza so much, in fact, that I have come to believe in my delirium that my pizza might actually love me, in return. I am having a relationship with this pizza, almost an affair. Meanwhile, Sofie is practically in tears over hers, she’s having a metaphysical crisis about it, she’s begging me, “Why do they even bother trying to make pizza in Stockholm? Why did we even bother eating food at all in Stockholm?

Pizzeria da Michele is a small place with only two rooms and one nonstop oven. It’s about a fifteen-minute walk from the train station in the rain, don’t even worry about it, just go. You need to get there fairly early in the day because sometimes they run out of dough, which will break your heart. By 1 p.m., the streets outside the pizzeria have become jammed with Neapolitans trying to get into the place, shoving for access like they’re trying to get space on a lifeboat. There’s not a menu. They have only two varieties of pizza here — regular and extra cheese. None of this new age southern California olives-and-sun-dried-tomato wannabe pizza twaddle. The dough, it takes me half my meal to figure out, tastes more like Indian nan than like any pizza dough I ever tired. It’s soft and chewy and yielding, but incredibly thin. I always thought we only had two choices in our lives when it came to pizza crust — thin and crispy, or thick and doughy. How was I to have known there could be a crust in this world that was thin and doughy? Holy of holies! Thin, doughy, strong, gummy, yummy, chewy, salty pizza paradise. On top, there is a sweet tomato sauce that foams up all bubbly and creamy when it melts the fresh buffalo mozzarella, and the one sprig of basil in the middle of the whole deal somehow infuses the entire pizza with herbal radiance, much the same way one shimmering movie star in the middle of a party brings a contact high of glamour to everyone around her. It’s technically impossible to eat this thing, of course. You try to take a bite off your slice and the gummy crust folds, and the hot cheese runs away like topsoil in a landslide, makes a mess of you and your surroundings, but just deal with it.

Remembering Blue by Connie May Fowler:

Nick was never a picky eater but after suffering through so many of my culinary failures he was well within his rights when later that same day he poked at his food with a fork and asked tremulously, “What is it?”

“Tomato pie.”

Lillian had given me the recipe and I followed it to a T. Four to five tomatoes, blanched for easy removal of the skins. Three quarters of a cup mayonnaise (feel free to use light but not fat-free). Pillsbury refrigerated crusts (bake the bottom crust for ten minutes in a moderate oven, otherwise you’ll have a juicy mess). As much garlic as pleases you (Nick, as you must know by now, loves garlic). At least one and a quarter cup cheese (I use feta). Plus fresh basil. Put it all together and bake at three hundred and fifty degrees for about thirty minutes.

I served it with a green salad and sweet tea. I watched out of the corner of my eye as Nick balanced a bite-sized morsel on his fork, lifted it to his lips, and discreetly sniffed. His face betrayed neither surprise nor disgust. Having gotten this far- even if the savory smell had offended him- he had little choice but to go ahead and eat. He popped it in his mouth and chewed tentatively but within seconds his eyes widened gratefully and his face relaxed in that way men have- you know, when they are suddenly and unexpectedly content (I have noticed that this phenomenon almost always revolves around food).

“This is really good!” he said.

“Thank you,” I said, ignoring the note of amazement in his voice.

That night, he chewed heartily. He ate two more pieces and I wrapped up what was left and handed it to him as he walked out the door.

Dreams of Trespass: Tales of a Harem Girlhood by Fatima Mernissi:

The winner of the race would receive a prize made by the last one to cross the finish line: an enormous pastilla, the most delicious of all of Allah’s varied foods. At once a pastry and a meal, pastilla is sweet and salty, made of pigeon meat and nuts, sugar, and cinnamon. Oh! Pastilla crunches when you munch on it, and you have to eat it with delicate gestures, no rushing please, or else you will get sugar and cinnamon all over your face. Pastilla takes days to prepare because it is made of layers of sheer, almost transparent, crust, stuffed with roasted and slightly crushed almonds, along with a lot of other surprises.

Alice’s Adventures in Wonderland by Lewis Carol:

Soon her eye fell on a little glass box that was lying under the table: she opened it, and found in it a very small cake, on which the words “EAT ME” were beautifully marked in currants. “Well, I’ll eat it,” said Alice, “and if it makes me grow larger, I can reach the key; and if it makes me grow smaller, I can creep under the door: so either way I’ll get into the garden, and I don’t care which happens!”

She ate a little bit, and said anxiously to herself, “Which way? Which way?” holding her hand on the top of her head to feel which way it was growing; and she was quite surprised to find that she remained the same size. To be sure, this is what generally happens when one eats cake; but Alice had got so much into the way of expecting nothing but out-of-the-way things to happen, that it seemed quite dull and stupid for life to go on in the common way.

So she set to work, and very soon finished off the cake.

Women in Love by D. H. Lawrence:

When they had run and danced themselves dry, the girls quickly dressed and sat down to the fragrant tea. They sat on the northern side of the grove, in the yellow sunshine facing the slope of the grassy hill, alone in a little world of their own. The tea was hot and aromatic, there were delicious little sandwiches of cucumber and of caviare, and winy cakes.

“Are you happy, Prune?” cried Ursula in delight, looking at her sister.

“Ursula, I’m perfectly happy,” replied Gudrun gravely, looking at the westering sun.

“So am I.”