photography: Kyle Dreier
food styling: Whitney Kemp
footage: Kyle Dreier, Rory White
editing: Matt Huesmann

So, what do you think? Wanna come play with us some day?

- Kyle

Aside from all the planning there are a number of people on set working together to pull it together—food stylists (you may recognize the dynamic duo Teresa and Whitney), assistants (go Rory), photo retoucher (Tony rocks), producer (big thanks to Mollie) … oh, and don’t forget the photographer (and resident goofball … me).

Here’s a little taste of what happens on set and behind the scenes—this from of one of our recent food photography jobs for a regional restaurant chain.

I hope you find this a little informative and perhaps even entertaining at some level. Did you notice what I use for stand-ins? Yes, woodblock type—I have an ongoing love affair with typography. Also, ever wonder what the food stylist is spraying all the time? I’ve been asked not to reveal that trade secret—I’m kidding—it’s just water.

We certainly have fun doing what we do. I hope you enjoyed seeing a portion of our day.

- Kyle

ps. See more of my food photography at dreierstudio.com.

I’ve observed a huge shift going on where studio photographers are moving away from their tried and true 4×5 technical view cameras. Practically gone are the days of large format film. I know of some who have settled in with DSLRs for studio work instead of working with a view/tech camera. I do some work (when on location) with my Canon 5D Mark II but am most comfortable when I can use my Arca Swiss view camera.

Arca Swiss (the company) is a bit elusive when it comes to getting information about their product. You would think they would at least have a website touting their fine products. You’d think. However, it seems that the only way to really get information is through a grassroots underground double secret consortium of Arca Swiss users. So, as a service to Arca Swiss fans and fellow users I thought I’d provide a little info about my setup. But you must triple swear by the Arca Swiss oath not to tell anyone where you found this information. In case you can’t tell, I’m kidding. You can tell anyone you want, but they might think you’re kinda geeky to be talking about camera stuff. I digress.

There are certainly people much more qualified and technically astute than I on the subject of Arca Swiss, PhaseOne and migratory patterns of swallows. I can thank Dave Gallagher at Capture Integration in Atlanta and Rod Klukas at PhotoMark in Phoenix for helping me to get versed and equipped. There is so much science and technique that can be applied to how this equipment operates and I won’t even begin to scratch the surface here.

Let me disclaim that I’ll likely butcher some facts here. Feel free to comment with corrections. Please be gentle.

There are two “modern” view cameras from Arca Swiss that seem to be the go-to for digital studio work. The M-Line Monolith and the M-Two. I opted for the Monolith. I wanted movements on the front and back standards. I wanted a rail with easy expanding/lengthening for close up work. I wasn’t as concerned about weight and compactness. I guess somewhere along the way I convinced myself I “needed” the Monolith, and I’ve not been disappointed.

There are a few things worth mentioning. Orbix is one. I love it. It’s on the front standard and makes for easy tilts. The movements in general on the Monolith are outstanding. The knobs have a nice feel and tension. I can adjust and it will hold. I can get very precise and get the exact focus I need. I can play around and make extreme adjustments which will push any lens way beyond it’s image circle. That’s just the Monolith showing off. The movements I utilize are much more subtle.

I’ve not made the huge investment in electronic shutters. I’m a manual guy. Inconvenient? Sometimes, but it also makes us slow down a little and really think about what we’re photographing instead of just firing off frames and hoping one will work. (Side note: I’ve actually been shooting some 120 film lately to slow down a little, but I’ll waste your time later telling you about that.) Electronic shutters are wonderful but that would add about $10,000 to my current setup. I’ll task my assistant with cocking the shutter for a fraction of that price tag.

I’m using a PhaseOne P40+ digital back. I can’t think of a happier place to be than working with the 40 megapixel images this back delivers. Needless to say, but I’m gonna say it anyway, I’ve been very pleased with the back’s performance. A OneShot cable system by Kapture Group is what links communication between the shutter and the digital back. Additionally, I’m using the standard sliding back adaptor from Kapture Group. All this tethered to a 24″ iMac with Capture One software.

While I’m at it, let me make a quick comment on the Arca Swiss Cube. In a word … phenomenal. It’s compact. It’s stead. It’s true. It’s solid. It’s, it’s, it’s … it’s just down right sexy. The design is great. The functionality is great. Being that is does have a smallish form factor gives big fingers like mine a little test in being nimble but nothing I can’t get past. I’ve debated about getting a second cube for my tripod I use on location. Geared movements, precise adjustments and compact size make it something to pine for when en route with gear.

All in all I’m very pleased with the Arca Swiss Monolith and Cube setup. There are so many ways one can go when choosing a camera for studio work, and I’ll argue there’s not a “best” way. So much of the decision is simply personal and relative to how you work and what you shoot. For now, I’m right where I want to be. But, just like so many things for me, I’m always looking at what might make my work easier and better. I think I’ll focus on what’s between my ears for now.

-Kyle

Photographing this concept is definitely going to be much of my focus (no pun intended) for my personal work this year and likely leading into next year. I get excited by the main idea, the individual photos and their execution … in fact, I’m guilty of doing the victory dance when an image comes together just as I’ve envisioned. (side note: the victory dance is only seen on set and shall not be performed for the simple pleasure of observers.)

One thing I truly enjoy is ‘getting it right’ in camera. So often photographers (I’m guilty) will brush off some aspect of the shoot to fix later in Photoshop. Sure, maybe it can be fixed later by why not fix it now? Why not spend two or three minutes to get the lighting just right instead of ten or more minutes in front of a computer to ‘get it right’ after the fact? (I’ll save my rant on this topic for a later post.)

So, because I can’t yet reveal the details of my project, I thought I’d tease you with some behind the scenes shots. Pardon the quality of these images, they are hand-held, 1600 ISO with my DSLR and literally no consideration for production value or public consumption outside of this blog entry.

There. Is that enough disclaimer?

Sorry, I had to blur out some incriminating evidence. The food’s anonymity is vital to this project. Not really, I just like keeping things under wraps until I’m ready to reveal the series. What I can tell you about this particular shoot was it involved sushi and sake. There, I’ve probably already told you too much.

- Kyle

ps. We have added two of the images from this series in my physical book (AKA food portfolio), so if you really want to see you can. Call Mollie.

This morning I’m breaking down the set from the shoot late yesterday and the drink actually still looks half decent. One issue I ran into with this particular food styling technique was color. You’ll see from the images below that my formula looks more like a bellini than a margarita. So, in post production I had to swing color on the margarita portion.

I continue to work more on the drink and pour section of my food photography portfolio. Look for updates over the next few weeks. It’s yet another part of my work that I enjoy … it’s challenging, it’s technical, it’s creative … and it’s related to food!

This is one of the outtakes from the food photography session. You’ll have to wait to see the selected food photographs until it is published.

Rotier

I sure love being a food photographer in Nashville.

- Kyle

I am very grateful for abundance of work these days, particularly with the news that airs nightly. Honestly, I think this is a great time to be in business for yourself … despite the unfair taxation. I digress.

Today I was putting together a few test shots for a potential client. This is probably my favorite way to shoot … loose parameters, flexible deadlines, and food. (disclaimer/confession: I did not sample the subjects, however I was highly tempted … these pepper jellies smell awesome.)

Raspberry Pepper Jelly, Blackberry Pepper Jelly and Strawberry Pepper Jelly.

Blackberry Pepper Jelly

Blackberry Pepper Jelly

That’s all for now.

-Kyle

Chai Latte

Ugly Mug Coffee

I’m looking forward to our next photo session to shoot more of their product.

- Kyle