Using What You’ve Got - Shiny Photography Surfaces

One of the biggest things that gets in the way of creating photos you love and can’t wait to share is something I call - but I don’t have (fill in the blank). 

But I don’t have that window.

But I don’t have that table.

But I don’t have that lens.

But I don’t have that kitchen.

You get the idea. 

But what DO you have? 

We must switch our thinking when we aim to create photos in a minimalist way. We all have things that are unique to us - our personalities, our values, our way of living, our location, our experiences. 

This way of thinking has gotten me past so many of those woe-is-me moments that had the potential to make me feel like I’d never create photos I loved.

And it prompts me to challenge myself to use what I have to create a photo - using what you’ve got. 

Making this a regular practice will:

• Help you focus on what you can create instead of what you can’t

• Improve your editing skills

• Help you develop your individual style

This is how it works for me. I find a surface that I’d likely never think of for a photo. It’s not pretty stone - real or faux, or a midcentury modern table. 

For example, a super shiny surface like our grill outside. 

Then I grab a prop I have around or maybe it’s a bowl I use every day. 

Next, I find a subject. In this case, some strawberries. The only three that developed off of the small potted strawberry plant I keep in memory of our pug Macy Mae. 

Take a few photos. Then have some fun with the editing. See what you can create. 

You may love them. You may think - nope, this isn’t me. But you’ve challenged yourself and figured a few things out in the process. 

I do this practice a lot. And I’ll be sharing more of those experiences and the photos that result here on the blog. 

Interested in exploring more surfaces for your photography, but don't have a lot of space? Be sure to grab this free training:

Finding Where You Fit With Photography and Styling

The other day, I watched a photographer I admire pack her gear for an on-site commercial shoot. There was so much stuff. All I could think was - no thanks.

Yes, all of that stuff was necessary for her. But do I want to photograph for billboards? It turns out that I’m pretty happy photographing for trade show displays, websites, food media, and the occasional supermarket promotion. 

On the flip side of this, someone commented on a past YouTube video of mine where my props were visible behind me - Oh, wow. You have so much stuff! Do I have to have that many props to create food photos? I don’t want that many props!

Not at all. High-quality print campaign photos can be created with a number of different professional cameras and lenses that you know how to use well. Beautiful food photos can be created with only a handful of props. 

The point is that viewing my process from the first photographer - I use way too little. 

Viewing from the perspective of the commenter on my video - I use way too much.

What’s important is that I’m super happy where I am. I know where I fit. 

Finding this spot took a lot of time, a lot of moments of feeling inferior. 

You don’t have to go through that. Do what I didn’t have the knowledge to do when I first started out, and give some thought to where you want to be. Where do you fit? Grow your skills there and the confidence in your work will follow. 

These are a few things I know about myself and my work as a photographer and stylist:

I don’t use a lot of gear.

I’ve encountered plenty of outstanding photographers who use minimal gear for many different reasons. They want to travel light. They can create what they what to create with what they have, there’s no reason to use more stuff. On the other hand, there are plenty of markets and types of photography that require advanced gear. 

The beauty of it is that you get to choose what category you fit into and how you want to pursue your own work. No one else. 

I prefer natural light and use it 95% of the time. 

This is a hot topic, specifically in food photography. I’ve read comments on photography message boards saying you’re not a professional food photographer if you don’t use artificial light. I’ve seen Instagram ads promising me that using artificial light will make my life so much easier. 

Can I use artificial light? Yes, in a minimal way. Do I want to? No. Not unless it’s absolutely necessary. I like the patience, challenge, and truly unique style natural light gives to my photos. I also get to work in a brightly lit, mood-boosting studio all day instead of a dark room. 

You can do either or both. Lots of types of photography that use natural light - on-farm, outdoor events, landscape, travel, weddings, branding, some interiors, street, architecture… 

Whatever you choose to use and excel at does not make you any less of a photographer. Don’t let anyone make you feel that way.

I am a stylist and photographer.

Many photographers are not stylists. You don’t have to be both. Most commercial and advertising shoots have teams of professionals all with a very specific role. 

I love styling and I prefer to style my own shoots. I love working alone at my own pace. At the same time, it can also be fun to work with others. All my client work requires some type of team effort, whether it’s art direction, campaign playbooks, color schemes, mood boards, or final photo decisions being made via phone calls, emails, or Zoom video calls. But personally, I do my very best work when I have the freedom to create alone based on what my client needs. 

Not everyone is like this. Others prefer to be around a team at all times. Again, the best part is you can choose how you work. 

I know my limits.

I like working alone and that means I have to know my limits. Intricately decorated cakes and pastry art are not my strengths. I’ve taken them on before and it led to more frustration than it was worth. I usually turn them down. If it’s a shoot I don’t want to pass up, I’d hire someone to help create or style the cake. Same with ice cream. It’s a tough subject alone (speaking from experience) so now I usually avoid it. 

Limits are something you can only learn with time. You have to step out of your comfort zone and even fail from time to time to find what is right for you. I feel like when I turned that point where I could say this is what I can do, and no, I don’t do that, my confidence in my work grew even more. 

Your turn. What are four things you can say about your photography and how you work? Say them with confidence and pursue them. Also, be flexible. They may change over time.

Learning outside your photography niche

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Sometimes we put blinders on. We focus on exactly what we want to do, learn exactly how to do it, and nothing is going to distract us. 

While there are so many situations in life where this is advantageous when it comes to photography and styling it can cause us to miss out on loads of helpful information. 

I’ve been an advocate for learning outside of your niche since I began styling and photographing food over 11 years ago.

I call it the Apply It Back method. It’s when you learn about something else and then you apply what you learned back to your own photography and photography niche. It’s a way to grow your skill and more importantly evolve your individual style. 

Here’s how it works for me:

• Landscape photography helps me see my horizon on food sets and keep the scene aligned.

• Learning about freezing motion in sports and nature photography helps me with food and drink action like pours and sprinkles. 

• Reading interior design books gives me ideas for color coordination and scenes. 

• Studying color psychology helps me with propping. 

• Floral design helps with color coordination and styling table scenes.

• People and portrait photography helps me with photographing my own hands in shots.

• Learning about natural light patterns and how to control them helps to improve even my phone photos and videos.

• Travel gives me ideas for how to reflect real life in my photos.

There are so many things to absorb outside of simply how to do food photography. All of our experiences and studies regardless of the focus and topic can be applied back to our art. 

Learning about other things isn’t time wasted. In fact, it can serve as an enjoyable creative break when you are feeling stuck or burned out.