Recently, I returned to Oceanique, at 505 Main Street in Evanston, Illinois. With this recent visit being my fourth one since February, that says a lot. So, I will not give another review since I gave a raving review already. What I will do in this post is focus on an aspect of photographing food I have encountered in very difficult settings consisting of extremely low lighting and I will show you a few “before” and “after” shots I captured during my latest dining experience for reference.
I shot the photos in a setting with dark and conflicting lighting. There was a flicker in the lights, undetectable with the naked eye, but noticeable when looking at compositions through the viewfinder of the camera. Adding to the lighting were brown walls and white tablecloths that created an orange tint to the photos. Once you click on the photos and see them enlarged, you will notice how the lighting warmed the photos and overpowered the colours in some of the menu items. Using the “before” photo of Escargot, Salad, Duck Confit for reference, pay attention to the base of the wine glass in the upper left-hand corner of the photo. Put a footnote there, for I will mention that photo again later.
Before explaining how I transformed the shots of my recent dining excursion to “after” compositions, here are some logistics. I have four digital cameras that I use interchangeably when capturing impressions of food for blogging. There are the Nikon D90, Canon Rebel XS, Canon Rebel XT, and a Nikon 1 J1. The Nikon 1 J1 has become my constant companion. It is compact enough that I can manage it and have room on the table when I’m not using it. I can switch lenses on it much like I do with my prosumer cameras. Always cognizant of the restaurants’ staff and other diners, I never use flash on my cameras. I photograph with the cameras in manual mode so that I can allow in enough light and not have bursts of light distracting anyone. If lighting is too dim and I think there could be the possibility for blurred photos, I use a small tripod and a remote to the camera. Depending on how much food I order or how long I am at a restaurant, the zealot in me will photograph hundreds of photos from various angles before the server places the bill on the table.
As you can see from the above gallery, I do post production on the photos. Referencing the photo of Escargot, Salad, Duck Confit, note that the glass that was originally in the upper left-hand corner of the photo is not in the final composition. I cropped the photo to remove the glass and made a minor perspective correction so that viewers zoom in on the food only. I applied white balance correction to remove the orange colouring cast the in the “before” shots. Doing this makes the natural colours of the food pop without any need for colour enhancements. My tools of choice for post production editing are Adobe Lightroom, Adobe Photoshop Elements, and Coral Paint Shop Pro. Unlike graphics artists who turn actors and actresses into alabaster dolls, I avoid manipulating food photos to the point of practically recreating a mockery of the original composition. Yes, I correct colour casts, remove artifacts, and crop to fill the frame. Still, I prefer not to detract from the original composition unnecessarily.
Not everyone who photographs food will be as overzealous with their photography as I am. In many cases, untouched photos do a better job of putting viewers at the table. I have often thought of my photos as looking staged. I look at past photos I captured years ago when I started blogging. They were some cool shots that came to life thanks to my point-and-shoot Konika-Minolta. My hobby is an addiction and there is no way that I want to let you see my passion in an unappetizing way. Wait, was that a bad pun? If only I could edit it the way that I do my photographs.