Product Photography on the Product Powerhouse Podcast

There is nothing better than when you get to be on a podcast and during the interview you realize just how much you click with the host. That was my exact experience talking about product photography with Erin Alexander on the Product Powerhouse Podcast. 

The episode is Using Product Photography (and more) to Grow Your Product Shop and I’m thrilled with what a resource it has turned out to be! There is so much valuable information inside this 36 minutes. 

We talk about:

• A short intro about how I went from a nutritional scientist working in academia and public health to being a food and product photographer and stylist.
  

• Why it’s okay not to outsource everything. Photographing your own products can serve as a creative outlet you enjoy.
  

• Why narrowing in on your style is important whether you take your own photos or hire someone else to do it for you.
  

• Types of photos that are important for your small business beyond individual product photos.
  

• How it’s possible to create beautiful photos and not be that into expensive gear.

• Time management and tips for making the time to build your skills for photographing your own products. 

Head over to the Product Powerhouse Podcast to listen or find it on your favorite podcast platform such as Spotify. 

Even if you don’t listen to this one, I highly recommend checking out Erin, Product Powerhouse, and the valuable resources she has for creative product-based businesses.

The Three Parts of Photography

There are three parts that influence a final photo. A quality final photo. One that you love and that reflects who you are as the photographer and stylist. 

The ratio of importance is: 

30/15/55

Confidence/Gear/You

30% is your confidence level

For many of us, this one takes the longest to develop. It’s easy to think that photography is all about gear or the eye of the photographer, but if you don’t have the confidence that you are creating valuable work you are never going to put that work out there. 

Something starts to happen when we stop looking to others for what they do and constantly comparing our own styles to theirs. When we stop watching the responses they get, the recognition they receive, and the placement of their work.

You free up a large chunk of space that allows you to focus on your own work, what you like to produce, and your individual style. The more you do this, the more confidence grows, the more work you produce that reflects your individual style, and the better skilled you become. It’s a repeating pattern that fuels your work and your confidence level. Focus, confidence, desire to create, increased skills, and repeat. 

Confidence changes things. 

15% is the gear you use

You know I use minimal gear, but I don’t want that to be confused with implying that it’s not important. It is important that your gear matches what you are trying to create.

Want to take pretty flatlays that you only post on Instagram? Your phone will be just fine. Want to photograph splashes and motion? You’ll need to understand shutter speeds and have the lens capable of producing what you envision. I have to have my 100-400mm lens to photograph wildlife from far away. My 50mm f/1.4 allows me to photograph at a shallow depth of field. I love creating food photos with my 24-105mm lens. 

Once you use the gear necessary for the type of photography you are creating, its role stops there. The gear doesn’t control how you style and compose a shot, the angle you saw that no one else does, the way to plate something that is super creative, the color scheme used, the moment you captured that facial expression or snapped at just the right time that animal came into view.

55% is YOU. 

That brings us to the largest component of the photo, you. The photographer who is possibly the stylist, too. 

Trust me, when I got my first professional lens and I saw what I could create with depth of field, I rolled my eyes when I’d hear - it’s not the camera, it’s the photographer behind it. Because at that point in my career, it was most definitely the camera working the magic. 

But as my work and skill level has grown, I now know that what makes my photos mine, are what I bring to them. The scene I see, how I position myself, how I see the colors working together, how I arrange the vegetables, how I choose to create negative space or fill the frame, how long I can wait out the elk to capture him eating grass, the sunrise on the specific day I took the photo, the surfaces and props I’ve searched for at vintage shops, the things I’ve found to use in photos during my travels. 

You get it right? Hopefully, I’m being clear. It’s you. Who you are, where you are from, what you have access to, what you’ve been through, and where you are going. 

There are other things involved, but this is the most important part of your photo.

Five Dried Garnishes I Keep for Food and Product Photography

Dried garnishes are so helpful to keep around for adding new touches to your photos. They last nearly forever so you know they’ll be there to grab when you need them. 

Here are five of my favorite dried garnishes that I always keep on hand. 

Dried Citrus Slices

I bought a simple kitchen dehydrator this year for an article assignment I had to complete. It has been so easy to make dehydrated blood orange, lemon, and lime slices. Now I keep a bag around for garnishing cocktails and for still-life shots. 

Dried Eucalyptus 

This is by far my favorite green. I pick up a bunch at Trader Joe’s whenever I’m lucky enough to find it. It stays in a vase in my studio to use in all kinds of photos. 

Dried Chile Peppers

I like using dried Birdseye chiles or others similar in size. They fit well into most styled food scenes when the goal is to emphasize that it’s a bit spicy. They also add a nice pop of color even when dried. Mixing them in a shot with fresh peppers is a fun touch, too. 

Nuts In Their Shells

Nuts still in their shells will last for a very long time. I always keep walnuts around. They are great for baking photographs and for still-life centerpieces. I will crack open a couple every now and then so the nut is in view. 

Pinecones and Leaves

Autumn is my very favorite season so it’s likely no surprise that I use these a lot. Each year I set out on a harvest walk and gather up some new leaves and pinecones for my collection. I especially love it when I can find a few leaves that still have some vibrant color like yellow. Not every element of a food or drink photo has to be edible, especially when you are trying to create a seasonal scene. Have some fun with it.

How to Brainstorm Ideas for Food and Product Photography

It’s coming up with ideas that seems to get you stuck. At least that is what a lot of people tell me. It’s an issue with nearly every creative endeavor - the creative block. 

And when you are trying to come up with new and different ways to photograph your food and products, it’s even more of a challenge. You don’t want to do what everyone else does. 

I’m the same way. I used to hit creative blocks all the time. 

Then I started practicing my method for Idea Generation. Whenever I have a subject to photograph whether it’s a food such as soup or a salad, or a product like jewelry or a candle, I ask myself four questions. 

The answers to these questions lead to ideas for how I could photograph the subject. And I keep working on my answers until I have 10 solid ideas. 

Overtime, the questions and answers become a more natural process. Ideas are almost instantaneous. I rarely get stuck after doing this for over 10 years. 

Here are those questions. 

What ingredients were used to make it?

What tools did I use to make it?

What does this subject make me think of?

How would I present this to another person or how is it served or used?

Question one and two generate ideas for garnishes to use, fresh items to add to the frame, how-to shots, hints at flavors and scents for the viewer.

Question three helps you to create a mood with lighting and colors as well as generate ideas for the type of scene.

Question four gives ideas for how to package and present the subject, what to serve it in, the environment it would be served in.

Here is how I would answer the questions for a subject such as lentil soup and then a product such as a candle. 

Lentil Soup

What ingredients were used to make it?

Lentils, broth, carrots, celery, salt, pepper, herbs

What tools did I use to make it?

Saucepan, ladle, measuring cups, spoon

What does this subject make me think of?

Comfort, health and wellness, autumn, lunch, bread for dipping, crackers

How would I present this to another person or how is it served?

Bowl, mug, thermos, jar, on a tray, with sandwiches or a salad, with crackers or bread

From answering these questions I get the 10 ideas below.

10 Ideas for Photographing Lentil Soup

• Flatlay with all the ingredients

• Soup in saucepan with a ladle nearby

• Soup in a mug with warm browns, golds, and orange colors

• Soup in a bowl with crackers on the side

• Soup in bowls on a tray with crackers or bread

• Soup in saucepan on a tray with empty bowls or mugs and spoons on the side

• Soup in a jar or thermos prepping a to-go lunch

• Soup in a mug next to a salad

• Soup in a bowl on a plate with a half sandwich beside it

• Piece of rustic bread being dipped in a bowl of soup

Scented Candle

What ingredients were used to make it?

Wax, any scents associated - vanilla bean, fresh flowers, dried flowers, cotton balls, linen material, thyme, rosemary, lavender, lemons, cinnamon sticks, whole cloves

What tools did I use to make it?

Jars, wicks, lids, labels

What does this subject make me think of?

Autumn, winter, reading by the fire, comfort, blankets, table centerpiece, celebrations, intimate dining

How would I present this to another person or how is it served?

With matches, on a plate ready to burn, on a coffee table, as a gift with a bow or in a box, in a gift basket, with a book

From answering these questions I get the 10 ideas below.

10 Ideas for Photographing a Spiced Candle

• Candle surrounded by vanilla beans, cinnamon sticks and cloves

• Candle on a wood plate with matches next to it

• Tool flatlay with jars, wax, labels and other ingredients

• Candle with dried autumn leaves around it

• Candle lit, next to an open book on a table

• Blanket draped over the side of a couch or chair with candle lit on a table next to it

• Seasonal table centerpiece with candle in the center of a board surrounded by twigs, leaves, dried flowers, etc. 

• Candle lit in the center of a dining table with a bowl of salad nearby and two place settings

• Candle in a small gift basket with matches, a book, decorative tea bags and a mug

• Candle nestled in a small box with tissue or shredded paper
  
  

Here are a few photo examples with which of the questions led to the final photo. 

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.