unit-2 food styling - cgibp.comcgibp.com/bhmct/data/notes/unit-2 food styling.pdf · the objective...

CGI

13

FOOD STYLING F&B PRODUCTION

LOKESH DHANKAR

BHMCT, CGI BHARATPUR

Food styling The styling of food, usually referred to as "food styling," is the art of preparing food to be photographed or filmed. The preparation, or styling, involved can be as deceptively simple as shopping for the perfect apple or as extreme as re-creating an elaborate, twelve-course belle epoque dinner party for fourteen. The creation of appealing images of food is a complex process. Whether the food is to be photographed for packaging, an advertisement, a cookbook, or a magazine, or to be filmed as part of a television commercial, cooking show, or movie, the styling of the food is an integral part of the process.

Food Stylists

Generally, those who work in the field of food styling are known as "food stylists." Since there is no formal training available for food styling, the particular skills and techniques required are usually learned while apprenticed to or assisting an established food stylist. While most people entering the field have a background in the culinary arts, additional skills that are invaluable include a knowledge of basic food chemistry, the principles of design, and the ability to improvise. Until the late twentieth century, courses on food styling were rarely offered, even at the top cooking schools. Where offered, these courses are primarily an introduction to the field.

Today, very few companies and magazines have food stylists on staff. Food stylists usually work on a freelance basis. The photographer, director, or production company hires them as needed, sometimes choosing a stylist that specializes in a certain area such as ice cream, chocolate, fast food, or baked goods.

Need for food styling

The need for food styling is a question that is often raised. The photographing or filming of food is very involved, and many techniques are employed to stabilize, sustain, and, if necessary, enhance the food to be photographed. Most important is that the food look as fresh and appetizing as possible until the image is captured on film, but this process can take hours. During that time, the food needs to be kept "alive," or replaced as often as needed, sometimes very often. For example, it is difficult to take a photograph of a barbecue grill with flames lapping up through an arrangement of jumbo shrimp, because the flames will char the food within minutes. The food might need to be replaced a dozen times and look identical each time so as not to affect the lighting or camera framing. Or to shoot a commercial that features a slice of pie with a piece being broken off by a fork, twenty takes with twenty perfect slices might be needed before the director gets the shot in which the crust looks flaky enough. Even a bowlful of salad greens demands a unique knowledge and set of skills to keep it looking crisp and moist. This knowledge and these skills are essential to successful food styling, and ensure that the process of capturing the needed image on film is efficient and cost-effective.

While there is a trend toward a more documentary style of photographing food that shuns food styling, this seemingly straightforward approach still involves many of the same considerations that go into typical food photography: props, lighting, camera angle. While food photographed straight out of the kitchen might have an inherent honesty about it, the end result is not always


attractive. Most consumers, and more importantly the clients, still expect to see images of appealing food.

The Process and Techniques

Each project a food stylist undertakes is unique and has its own set of demands. The approach the stylist takes in preparing the food—even the same food—varies greatly depending on how the image is to be seen and used.

But before the food is prepared, there are several preliminary steps involved. The stylist meets with the photographer/director, and sometimes the client, to discuss what will be shot. The appropriate recipes, layout, or storyboards are reviewed. And from this, the necessary food, material, and equipment are determined. While the stylist is responsible for the shopping and purchasing of the needed food, actual product to be used is usually sent by the client. Often the shopping involves locating out-of-season or difficult-to-find items. The stylist then confers with the prop stylist (the person responsible for providing the tableware, linens, flowers, etc.) to make sure the props selected are suitable.

The first step in the actual preparation of the food is to create a "stand-in." The stand-in is a close approximation of the finished food, and gives the photographer/ director the time needed to compose and light the shot without worrying about the food "dying" on the set. Another important reason for preparing a stand-in is that it allows the client to make recommendations the stylist can incorporate into the final, or "hero," food.

The preparation of the hero food involves any number of specialized techniques food stylists have developed to deal with the demands of photographing food. The overriding concern of the stylist is to keep the food looking fresh and alive. Moisture is critical.

Depending on the food, moisture is retained (or replenished) by brushing or spraying the surface with water or a thin coat of vegetable oil, and keeping the food under cover until needed. This is probably the most basic technique employed by the food stylist. It not only creates the appearance of freshness but can also make the food look juicy or even hot, since it is often cold and undercooked when photographed. (Heat will cause the food to continue cooking, then wilt and appear dried out.) For instance, vegetables are undercooked and kept in cold water until needed to retain their color. Poultry and meats are also undercooked, or cooked at lower than normal temperatures, to prevent them from shriveling or shrinking. A finished, roasted look is then added to the surface by brushing on gravy coloring, or browning the surface with a blowtorch. For a grilled look, grill marks are branded onto the surface using red-hot skewers.

Stabilizing delicate foods is a common challenge. This can be as straightforward as using toothpicks, straight pins, or hairpins to hold things in place. Or it can simply be a matter of placing a thin piece of cardboard under a slice of cake, or even meatloaf, to keep it from breaking. More complicated stabilizing techniques involve the use of thickening agents such as gelatin or food starches. These can be used to keep sauces in place, or a slice of pie from collapsing.


Foods that oxidize easily (such as cut fruit) are dipped in lemon juice. Commercial antioxidants are also used; they are especially good for keeping leafy greens crisp or preventing the surfaces of sliced meat from turning gray.

Occasionally, substitutes for the actual food are used. This is done when the technical requirements of the photography or filming make it difficult or even impossible to use the real thing. A model might be made of a candy bar or a piece of cereal. Sometimes ice cream is made out of a mixture of confectioner's sugar, vegetable shortening, and corn syrup. Hair tonic might be used in place of milk in a bowl of cereal.

In short, these examples represent just some of the basics of what is involved in the styling of food. More than the mere ability to prepare an attractive plate of food, successful food styling is a demanding occupation that requires resourcefulness, skill, and artistry.


Modern And Special Innovative Garnishes

The objective of food photography is, usually, to portray the inherent beauty of food. And, just as when you are preparing food for eating, garnishing is one of the easiest ways of enhancing a dish for the camera. A carefully chosen garnish can add just the right splash of colour, textural detail and/or height which really lifts the final image. Some foods, such as mousses and soups can sometimes be tricky to photograph because of their flat and monotone surfaces. Adding a garnish makes it so much easier by providing you with a focal point for the image.


the more traditional view of garnishing now and have a look at some garnishing fundamentals ...


How to Choose Relevant Garnishes

I like to break this down into three categories and classify garnishes as:

• a reflection of the ingredients within the dish • suitable accompaniments • integral elements of the dish

1. A Reflection of the Ingredients within the Dish

This is one of the easiest and most fail safe ways to choose a garnish. Look at the ingredients that you are using and see if there is anything there that you can single out to use as a garnish. Replicating one or more of the ingredients doesn't mean that you need to use the same form that is in the dish though. So, say for example, the ingredient you've selected is coconut milk then you could use toasted coconut flakes, shredded or desiccated coconut as the garnish. Here's some more examples:

NUT MILKS OR GROUND NUTS - flaked, chopped or whole nuts (toasted or raw), praline

FRUIT (PUREE, DRIED, GRATED, CHOPPED ETC.) - whole or sliced fruit, fruit compote

CHOCOLATE OR COCOA - chocolate shavings or curls, grated chocolate, a dusting of cocoa powder, piped chocolate shapes, cacao nibs

CITRUS FRUIT - zest, slices, quarters or wedges, candied peel diced or sliced

2. Suitable Accompaniments

It's commonly accepted that many foods, in particular meat, fish and poultry, have certain foods that are known to be suitable accompaniments for them. Where possible, it therefore makes sense to use these foods as garnishes. Many of these pairings have developed over the years, and even centuries, so you can be sure that they are tried and tested partners. Whilst some of the accompaniments are obvious such as pork and sage, others may be less well known, like lamb and lavender for instance.

BEEF - horseradish, mustard, thyme, bay leaves, mushrooms, shallots, roast/baked cherry tomatoes


LAMB - mint, rosemary, lavender, capers, olives, garlic, redcurrants, rhubarb, roast/baked cherry tomatoes

VENISON - juniper berries, cranberries, chestnuts, orange, dark chocolate

PORK - apples, pears, sage, fennel, rosemary, mustard, onion, garlic, caraway, cloves, juniper berries

HAM/GAMMON - parsley, bay leaves, cloves, citrus fruit, pineapple, redcurrants

TURKEY - cranberries, bacon, chestnuts, sage, onion, lemon

CHICKEN - sage, onion, tarragon, chervil, coriander, rosemary, bacon, lemon

DUCK - sage, orange, cherries, plums

FISH & SHELLFISH - dill, chervil, parsley, tarragon, chives, fennel, watercress

OILY FISH (eg. mackerel) - sage, gooseberries, rhubarb

EGGS - dill, parsley, tarragon, chervil

CABBAGE - caraway seeds, bacon

CARROTS - mint, thyme, parsley, coriander, lemon

PEAS - mint, tarragon, lemon

TOMATOES - basil, olives, oregano, capers, thyme

POTATOES - spring onions, lemon, mint, chives, nutmeg, capers

CUCUMBER - dill, mint, tarragon

3. Integral Part of the Dish

Sometimes you don't need to add a garnish as such as the individual components within the dish can themselves become the garnish. Accompaniments like sauces, vegetables, salads and fruits can all become attractive garnishes. This is such a subtle way of garnishing that you probably wouldn't even class something like a handful of french beans as a garnish. But they are.


Techniques for Adding Garnishes

I either use the following techniques independently or more often than not try a combination of different techniques. Always keeping in mind that less is often more though.

1. Sprinkling/Scattering

The following ingredients are all great for scattering/sprinkling over or around dishes - over the food, on the plate and/or even as part of the background:

• herbs • nuts • seeds • capers • olives • salt flakes • cracked peppercorns • chopped or sliced vegetables • pomegranate seeds • chocolate shavings • coconut flakes • micro greens • and don't forget the cake, cookie or pastry crumbs!

2. Dusting

I prefer to use a light touch with this technique and try to avoid totally obscuring the food. Dusting of one or more of the following ingredients, over or around the food, creates colour and textural interest:

• icing sugar • cocoa powder • cinnamon • paprika


3. As Nature Intended

Food in its natural state, such as a wedge or slice of lemon, a sprig of herbs or a bunch of cherry tomatoes on the vine are all ideal garnishes. If I'm using clusters of a particular garnish I think that they usually look more harmonious if they are grouped in odd numbers. Depending on the angle of the photograph, I sometimes find I need to position the garnish slightly differently than if I was serving the food. Sometimes it helps to bring the garnish forward slightly to make it look more aesthetically pleasing in the image. Then I just keep tweaking the position until it looks right.

4. Formal Garnishes

Positioning the main garnishes in geometric or symmetrical designs helps to give a more formal impression. I use natural garnishes, as above, or immaculately and evenly chopped, diced fruits or vegetables. Or, occasionally, if I'm feeling particularly creative and dextrous, and it's appropriate for the dish, I create some arty fruit and vegetable garnishes. To soften the look of the formal garnishes, I'll then scatter or dust the dish with other complementary garnishes.

5. Integral Garnishes

As previously mentioned, side dishes and sauces are subtle garnishes that make the dish look naturally beautiful. Colourful vegetables, salads or fruits are all ideal for this. Sauces too, either pooled or drizzled artistically on the plate. I'm not a great fan of smearing the sauce accross the plate but if that's what you like, then go for it! If I want a more natural look, I'll pour or drizzle the sauce over the food. I think it looks better though when photographing food with sauces, if the main food isn't completely smoothered with the sauce.

Accompanying salads, vegetables and chunky salsa type sauces don't necessarily need to be placed on the plate. Arranging them on top of the food can often look far more effective. Particularly for giving an image of a flatish piece of fish or meat some colour and height.And don't forget the usefulness of 'cooked on' garnishes too. Sliced tomatoes on top of a quiche or savoury bake, the crunchy golden top of piped mashed potatoes on a cottage or fish pie, seeds baked onto crackers, egg glaze on baked items, chopped nuts baked onto cakes or muffins and griddling marks all make the food look more beautiful and appetising.


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unit-2 food styling - cgibp.comcgibp.com/bhmct/data/notes/unit-2 food styling.pdf · the objective...

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