Tuesday, February 19, 2013

Q and A: Defining Food Styling Roles

Q from Virginia Matano, Food Styling 101 Student

I'm confused.... Could please tell me the difference between PROP STYLIST, TABLETOP STYLIST, FOOD DESIGNER, HOME ECONOMIST, and finally FOOD STYLIST!? In my mind I thought that the food stylist was all these things....

A from Debbie Wahl, Food Stylist and Food Styling 101 Instructor

Hello Virginia, That is an excellent question! Those terms are often used and can be confusing so I will try to explain:

Food stylist - (definition from Wikipedia):
"The role of the food stylist is to make the food look attractive in the finished photograph. The main difference between how a home cook or chef may present food and what a stylist does is the time and effort a stylist takes to carefully and artfully arrange the food. Also required is the visual know how, and ability to translate the perception of taste, aroma and appeal that one gets from an actual dish, to a two-dimensional photograph.

"Food stylists have culinary training; some are professional chefs or have a background in home economics.[4] In addition to knowledge of nutrition and cooking techniques, food stylists must also be resourceful shoppers.[4] As creative professionals, they envision the finished photograph and style the food accordingly."

Home Economist--when I first began food styling, most major food corporations required that the food stylist be a "home economist." The term "home economist" indicates that the person has a 4 year university degree in foods or home economics. Here is a link that explains it more:


Being a home economist is no longer necessary for food styling.

Prop stylist -- the role of a prop stylist is to procure the non-food items needed for a photo shoot--this can range from purchasing/renting plates, flatware, glasses, napkins to getting furniture for a room or building shoot. If they do wardrobe styling (clothing), then they use the term "wardrobe" stylist.

A tabletop stylist is more limited to getting non-food props that are going to be seen as part of a tabletop shoot. It can also indicate procuring and arranging any item shot on a tabletop surface such as cosmetics, wines, dishware, etc.

Some prop/tabletop stylists also style food so they advertise themselves using all those terms.

Food designer--I am not sure I have heard the use of this term but I would guess that it is the same as a food stylist.

If you google "prop stylists" or "tabletop stylists" -- you will see many examples of these stylists' work.

I used to do prop styling for tabletop as part of my food styling job but now I am so busy with simply doing the food styling that I ask the photographer or client to hire a separate prop stylist.

Hope this helps! Debbie

Debbie teaches our introductory course in food Styling, Food Styling 101, and is a professional food stylist. Her new website can be viewed at www.debbiewahl.com.

Tuesday, February 12, 2013

Two Reviews of "Basics Fashion Design 08: Styling"

Book Review 1
b
y Brittany Esposito
“Basics Fashion Design 08: Styling,” by Jacqueline McAssey and Clare Buckley offers an effective mix of stylists’ biographies, professional images, and practical advice about how to produce a photo shoot and break into the industry. I really enjoyed reading the different stories and flipping back and forth through all the images. “Basics Fashion Design 08: Styling” is a visually stimulating book. Its design has inspired my creative work as a student and a professional in a tremendous way. This book is not only inspirational but also a tool for styling knowledge.
I learned that a stylist has a lot of responsibilities including choosing the look and clothing for a fashion image, communicating the fashion idea, trend, or theme, and being able to advertise a fashion product. This book outlines what it means to style for a catalog or advertisement (commercial styling) or a magazine (editorial styling), and what types of skills these different fields require. Styling proves that even on a limited budget, with tremendous imagination and drive it is possible to create beautiful and relevant work. This book is a comprehensive guide to the rapidly developing discipline of styling. The shoot process is broken down step-by-step to demonstrate the preparation and editing of clothing, the shoot day itself and the post-production process.
Overall, I truly enjoyed how personal and inspirational this book is. I think it’s the perfect guide to begin a styling career and I would recommend it to any student or young professional looking to get into styling.


Book Review 2
by Denise Muñoz
            The authors cover a large amount of information by summarizing each theme down to a few pages each. What I enjoyed most about the book was the array of pictures of styling in different arenas. At the end of the book, the reader is presented with interviews of different fashion bloggers. The authors also share interviews with stylists.
One of the interviews that resonated with me was the one given by Siobhan Lyons. In the interview Siobhan describes how she moved up in her career and it is evident that a lot of hard work, dedication, and patience were needed before she was able to reach her position in her profession. She describes the relationship between a designer and a stylist as having to think like them, like “becoming their second brain.” This is a recipe for a successful partnership.
Another interesting insight was the fact that styling involves so much more than pulling clothes and actual “styling.” At the end of the day a stylist is a business person and will spend many hours writing emails, estimating budgets, creating spreadsheets, calling all of the people involved in a project, and even doing odd jobs that were never imagined would fit the job description. She also points out that things rarely go as planned and as frustrating as it may be for a stylist, he or she must be able to keep on going and be creative with any situation that presents itself.
In summary, I found the book to be a pleasant read and useful for any person interested in or pursuing a fashion career. The reader must be aware that it only provides a very brief overview of the themes and subjects mentioned. If someone is looking for detailed information on the subject or “how to be” a stylist type of book, this is not the right one. I feel that it only provides an introduction into the profession. Nevertheless, it has insightful interviews, beautiful images, and good information.
Brittany Esposito and Denise Muñoz were both students in my 2012 Fashion Photo Styling class at San Diego Mesa College's Fashion Department. Thanks to both for their contributions. Susan

Monday, January 14, 2013

“Plate to Pixel: Digital Food Photography and Styling” by Helene Dujardin


Book Reviewby Rachael Higginson

I went to Barnes & Noble the other day in search of a book on photo styling. Unfortunately, they didn’t have much. They had many books for photographers that briefly mentioned a stylist, but nothing really for stylists. After having an associate help me with my search, I came across two photo styling books for food photography. The first was “Food Styling for Dummies,” and while it provided interesting tips and tricks with using food alternatives like motor oil for syrup, shoe polish to brown meat, cardboard between pancakes, and glue for milk*, I somehow found the images in the other option more captivating and was drawn to the notion of using real food.
I chose to purchase “Plate to Pixel: Digital Food Photography and Styling” by Helene Dujardin, a pastry chef and photographer. The book is very insightful and, like most other books I found, is really written for photographers who do their own styling, but I think, even as a stylist, a lot can be learned from reading it. Dujardin even emphasizes in her book: “…be sure that you understand the fundamentals of photography (exposure and light) before diving into composition and styling.” The book, at the very least, gives stylists and idea of how a camera functions and what methods and operations a photographer they are working with might use, and provides terminology that would be useful to know when communication with photographers during a shoot.
Dujardin separates her book into sections that, according to her, should be the step-by-step process of food photography. She divides them: Photography Basics, Settings and Modes, Natural Light Photography, Artificial Light Photography, Composition, Setting Up for Capture, Styling, and After Capture. While chapters one through five may not be as relevant to stylists who are not photographers, there are some useful tips in them that can give stylists an idea of what to account for while styling food during their shoots. For example, in her chapter on Composition, Dujardin writes: “You don’t need to come up with crazy setups and lots of propping and arranging to add interest to your photos. Many times, an off-center subject can do the trick.” (page 97) There are a number of benefits to composition, as Dujardin continues to explain throughout her chapter: Hiding flaws or when you don’t have enough of a product to fill a dish, adding movement and guiding focus (though one must be aware of the focal point when shooting), etc. She also discusses focus, perspective, location, and angle and the benefits of different options. While the photographer may control a lot of these factors during a shoot, some of them are something that a stylist may very well have control over.
“Setting Up for Capture” and “Styling” are perhaps most relevant to stylists (food stylists) who are not also photographers, and Dujardin considers them the final steps to creating good food photography. She doesn’t really go into using food substitutes, though she does mention using acrylic ice cubes. Rather, as a chef, she discusses styling tips and techniques using real food. She suggests using natural props, elements of the dish to enhance it (i.e. cherries in a photo for cherry cobbler), reserving ingredients from recipes to use as props, communication with your chef if you are working with one, asking them to undercook noodles so they don’t lie flat. She outlines the importance of being nice to the chef and explaining exactly why you are making any changes to the dish, as chefs can be very particular about how their food is presented. She suggests whole spices and relevant herbs as simple props.
Dujardin goes on to explain the impact of creating a scene in food photography, so that your picture tells a story. This would require more propping and styling as compared to a close up of a sandwich. Mood and story, she states, can have a huge influence on how your food is conveyed and how it is interpreted by the viewer (page 146). She discusses props and how they should be used to enhance the food but your food is always the featured product. She also points out, though, that props can help a viewer relate to the food being photographed. She discusses backgrounds and linens in the same regard, and offers very useful tips on where to find props for reasonable budgets. She even briefly mentions color and how it can be used in a photograph.
Finally, Dujardin begins to talk about Styling. She talks about styling in terms of food and how it can be enhanced, suggesting what props to use where and how to arrange items to optimize their aesthetic effect. For example, she suggests using coarse salt, peppercorns, herbs/spices, nuts, fruits and veggies, and bread as prop devices in food photography, especially when a recipe uses these ingredients or when they can be difficult to identify in the final photography (i.e. styling a photo of a berry pie with fresh berries).
Dujardin also discusses tips and tricks for difficult styling situations. For example, using a wet towel or lemon juice to preserve fruits and vegetables, brushing oil on meat to revive it, freezing scoops of ice cream on parchment paper until ready for shooting (as opposed to using clay as a substitute as some stylist are apparently known to do*). For example, and while she points out she is not a huge fan of this technique, she suggests using cooked rice or mashed potatoes to anchor down and style lettuce leaves for photos of salads, especially if there is not enough lettuce to fill up the whole bowl. That’s about as “fake” as Dujardin gets with her food though. She likes to be able to eat it. And as a foodie myself, I don’t blame her!
Dujardin’s book focuses on some very basic, yet very useful information, and she provides excellent visuals to help explain what she is talking about. She even references each photograph to discuss a point. While I think that learning unconventional styling techniques like using in place of milk for a photograph of cereal may be useful, epecially for stylists who and not alo also photographers or cooks. I appreciate DuJardin’s deep respect for food. I think that “Plate to Pixel” not only provides stylists with a way of understanding why or how a photographer or cook does something during a photo shoot, but also provides them with the basic knowledge and useful tips for dealing with food, and many of the techniques and suggestions Dujardin offers can be used in food photography regardless of whether the ice cream is ice cream or clay.

*Editor’s note: these outdated “techniques” are no longer part of the professional food stylist’s repertoire and have been outdated for several decades. The current trend is using real food and edible ingredients. Susan
Rachael Higginson is a student in the Fashion Program at San Diego Mesa College.