Behind-the-Lens: Interviews with Today’s Photographers
MATT ARMENDARIZ

Part foodie, part blogger, and always entertaining, Matt Armendariz is a food photographer and art director who inspires us with his images and makes us hungry! His style is simple, with compositions that highlight ingredients and draw the viewer in. Working at his home studio in the Los Angeles area and on location, Matt has created images for companies such as Whole Foods and Bristol Farms. He writes a very fun and engaging blog called Matt Bites, and lets us in on the secret world of food photography. For all of us who photograph our dinner with sad results, Matt helps us see the light. We spoke last week about his work and techniques.

What makes a food shot special? What do you look for in an image?

A special food shot is a few factors working simultaneously.

A food shot is special when the photographer or stylist (or even blogger) has a real connection to the food. This appeciation and love really shows in the final frame; you simply can’t fake it. I’ve never met a successful food photographer that wasn’t also a foodie. There’s a reason for this.

When buying photography or art directing a shoot I look for two factors: my emotional reaction and the technical factor. Does the food photo wow me? Do I want to reach in and take a bite? And is the photo high quality, unique and technically well executed? I’m willing to forsake one side if the other side excels.

What are your 5 best tips for making a set-up successful?

1. Start with great product, whether it is the freshest food, unique props or a great studio.

2. Use natural, available light.

3. If you can afford it, work with professionals like food and prop stylists. There’s nothing wrong with doing it yourself, but professional resources can be magical.

4. Get along with everyone you’re working with and be nice. Super nice. I can’t stress this enough. I’ve seen photographers yell at assistants, stylists throw tantrums, and let me tell you that none of that is tolerated when I’m on set. Life’s too crazy; be nice to each other. Besides, that negativity translates itself to your photography, believe it or not.

5. Use a great lens appropriate for your shot.

My husband is a chef and I am a photographer. You would think we would be a perfect match for food photography, but we’re not stylists and art directing is such an challenging craft. What can you suggest for us to think about when photographing dinner?

I would suggest to begin thinking of yourself not so much as a chef and photographer team but as a stylist and art director; one needs to see the food as shapes and form and not necessarily food. Then after playing art director you can become the photographer. It’s a tricky dance but actually quite fun.

Photographing dinner can be tricky as food built for photography isn’t necessarily the same plate you’d sit down to eat. Sure, the recipe and ingredients may be the same, but a big bowl of food must be looked at objectively and not through the eyes of a chef.

As far as the technical specs, shooting food is pretty different than shooting people. Just like the rapport between model and photographer, a food photographer has to understand and appreciate food. Ever ask a non-food photographer to shoot food? The results are obvious. If I had to offer one tip for photographing dinner I’d have to say use natural light. Above all things, natural light is key to making a food shot realistic, appetizing and attractive.

Take us through what you do to set up for a simple shot, say a portrait of a strawberry.

Ah, here’s where the art director steps in. I first must identify my final end use – is this for an advertisement? Who’s my audience? Is this editorial, catalogue, or personal? Once I identify those factors I have a much better understanding of the shot. If it’s for sole personal use then I can have as much fun as possible, which is of course the most fun.

Ok, so I’ve figure out that my shot is purely editorial to accompany a story about the season’s first really good berries. I’ll call a farmer or grower and ask if I can shoot in the field, and if that’s not feasible I’ll get my hands on the absolute best looking product possible. This is key. This is what makes it unique. High quality subjects equal a great photograph.

After that I’ll photograph it, and the set up can be anywhere from natural light with reflectors for fill or softboxes and spotlights if I want to show detail.

Your new “Peas” shot is fantastic. How did you create this image and what makes this shot look so great and not like a mess of peas?

Thank you so much. Sometimes we have a tendency to over stylize and fuss with stuff until all the magic’s gone. I fully intended to create something completely different when I grabbed a handful of fresh peas and a brown tablemat until I looked at it and realized how beautiful the peas looked loosely arranged. I feverishly opened peas very delicately and began to lay them out, forcing myself not to overdo it. It’s lit with natural light, no fill.

Tell us about your gear. What camera/lenses/lighting/support equipment do you use?

I shoot with a Canon 20D and a 4-gig card. Most of my files are shot raw. In the event I need more resolution or a different frame size I’ll rent equipment or even shoot film. Depending on the subject or effect I am trying to achieve I’ll use a basic 18-55mm lens, a 50mm or an 85 f/1.2. For very dramatic shots I’ll a 90mm Tilt Shift lens.

I’ll use any light I can get my hands on, I’m not picky. 95% of my work is daylight, other times I’ll use strobe.

Because I focus so much on natural light I always make sure I have an ample amount of fill cards, frost, diffusion material and reflectors.

Lighting product shots and food can be really tricky. What are some of your lighting tricks of the trade? (strobe? Hot lights? Overexposure? Soft light? Etc)

Because I shoot mostly food and high end food products I’ve had to familiarize myself with a few techniques. Cooked food is beautiful as is, but I prefer backlighting to pick up highlights and refection in sauces, slick surfaces, etc. I can achieve the same effect with strobe when needed. Hot lights are hard with food as the heat causes it to die fast, and some things like mint and herbs die within a minute on the set. Timing is everything.

I tend to shoot raw and underexpose my images to preserve information and detail. I know I can always correct it in processing. The funny thing is that I love overexposed images, but with food you lose quite a bit of detail.

Wine bottles, olive oils and vinegars are entirely different beasts. Those are easiest when shot with strobe and an elaborate set up of reflectors, fill cards and panels. Those pesky milky reflections!

I’m always stymied by backgrounds when shooting food or products. Any insights?

I believe background is just as important as the subject, and that’s led to some interesting discoveries. Because the background is usually thrown out of focus in food shots it’s not so much what the actual surface is as the color of the surface. Plain corrugated cardboard becomes a beautiful tan color when blurred, cheap art paper is handy, napkins and fabrics do wonders, too. Just make sure your object is large enough. Other than that, use anything. You’ll be surprised how pleasant every day items can be.

Do you have your own studio? (If not, do you have a set-up in your house?)

My garage has been converted into my studio, but I also shoot at different studios if I need more light, more space, or air conditioning!

How much post-production is involved in creating a standard shot for a magazine? (Photoshop?)

Believe it or not, there’s not a huge amount of post-production required for food photography. Food is so beautiful in its natural state and doesn’t require a whole lot of messing with if it’s captured properly. If anything, the manipulation occurs when trying to fit an image on a cover or on a specified layout when type will share space. I’ve cloned my share of table edges to gain a few extra inches for printer’s bleeds.

Where did you get your training?

I am completely self-taught. I’ve never taken a class in anything.

Do you consider yourself a photographer, art director or foodie first?

I’d consider myself a glutton of the highest order first. All the other titles follow.

Seriously, I’d have to identify myself as a lover of food first and foremost. It’s something I take with me wherever I go and a passion I’ve had my entire life. The art director job has been the last 10 years of my life and I’m still trying to figure out when to call myself a photographer. Call it identity crisis.

How did you get started in food photography and art direction?

I started bagging groceries at the original Whole Foods Market in Austin, Texas many years ago. It was a summer job between semesters, and growing up in Austin it seems that everyone had a friend or relative that worked for Whole Foods. I jumped on a computer one day to make signs, and that led to graphic design which led to art direction once the company began to grow. After 10 years with Whole Foods I decided to leave and pursue art direction elsewhere.

The photography happened by accident; I picked up a camera to get a few small last minute incidental shots and fell in love with crafting my own image. I’ve spent countless hours trailing photographers around in my career and picked up a few tips and tricks along the way. It was the best classroom one could ever hope for.

After gaining some experience I began to use my own photography in my work and it’s been extremely rewarding. You can call me a control freak, I suppose.

That’s not to say I’m anywhere close to the talent and expertise of the photographers I’ve worked with as an art director. Not even close.

In addition to great food photography, you create unusual and beautiful self-portraits. Would you tell us about your process for creating these?

My self-portraits began because no one would model for me. They’re actually exercises in lighting and not so much an exploration in self-indulgence. Have a look again and you’ll see an attempt of different methods of lighting: natural, flash, ring light, ring flash, strobe, snoot, softbox, colored gel, outdoor night and daytime flash, the list goes on.

The costumes and props (inflatable dolls, plastic bugs, banana peels, fake birds, dogs) are there so I won’t take myself too seriously. Or so anyone else won’t, either.

I love the simplicity of some of your people portraits. Your subjects seem so real and approachable. What can you tell us about those?

As much as I am a fan of fashion photography I try to capture people in their most natural state, the same way I’d shoot food. I’m bogged down with the logistics of food photography many days, so I like the spontaneity of shooting friends and acquaintances. I’ve been known to set up a c-stand and seamless in the backyard unexpectedly and drag friends out there, much to their disappointment.

Using Elmer’s Glue for milk and basting a turkey with motor oil are some common food stylist tricks. Got any weird ones from shoots you’ve worked on?

But of course! The strangest is a thanksgiving turkey. Cook the raw bird for about 20 minutes, take it out of the oven and brush it with soy sauce. Use a blowdryer to dry it and repeat the painting process until it reaches your desired hue. After it dries brush it with lemon dishwashing liquid and voila! Your turkey’s ready! Well, it looks ready.

How have tastes changed over the years for food styling? Is there a difference in the kinds of shots clients want now as opposed to when you first got started?

This really all depends on the client. The big safe mainstream manufacturers don’t want anything too edgy, so the result is safe angles, safe prop styling and safe preparation. I try to push the envelope as much as possible, displaying food in settings not always expected. Some people encourage that. It really all depends.

As far as changes in food styling, things are a bit more natural now. Years ago everything had to be absolutely perfect, not a piece out of place. Now it’s common to find crumbs, uneven edges, even messy rims of glasses. It’s very random.

What’s for dinner?

Not sure yet, but whatever it is it will be simple, cold and quick. We’ve had a heat wave in Los Angeles and I’m currently working on a Thanksgiving project so the last thing I feel like eating involves cooking.

It will probably be cold soba noodles, an heirloom caprese salad or just a bottle or three of Pinot Blanc. Or all of the above.

For a regular dose of Matt, check out his wonderfully entertaining blog. I’d especially recommend reading his post “Behind the Scenes,” dated July 17, 2006 about the day in the life of Matt the Art Director. It’s great stuff!

Speaking with Matt has certainly made me want to photograph all of the ingredients in my fridge, and also appreciate all of the work that goes into the images we see of food every day. Thank you so much, Matt!