The Wall Street Journal: The Mildred

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Screen shot from website





I had the opportunity to shoot a new and very interesting restaurant located in the Bella Vista area for The Wall Street Journal in Philadelphia. Michael Santoro chef and owner has a impressive background in his cooking endeavors leading up to the opening of The Mildred. They serve the majority of their entrees in cast-iron Staub French ovens. Slow cooking is a signature method of cooking they have here. I photographed their vertical pheasant which is being served. 




Food Stylist: Katie Christ

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Katie Christ



Does any one else in your family have a passion for food like you?  
 My older brother started cooking in professional kitchens at age 17.  He's traveled a lot and is a terrific global cook.  Between the two of us, we've hit a lot of countries, cultures and cuisines.  It's fun sharing what we learn with each other.

Where are you originally from? Was traveling a culture shock to you? What was your favorite place you visited?  
I grew up in So California and we did a lot of family trips to Baja  I was fortunate to be exposed to another culture and language early in life. When I traveled to Europe for the first time as a teenager and it was like a bright new world had been opened to me.  I think I've just always been a very curious person.  I've been to so many incredible places since and had so many phenomenal experiences  --including living in Paris and Mali, West Africa. A couple of recent experiences that really stand out are Naoshima island in Japan, the Allora and Ajunta caves in India, cruising the Mekong river in Laos and camping in the Sahara desert near Timbuktu for the music festival.

While at Citizen Cake what was the most challenging pastry?  
[Lauging] The hardest thing for me still, to this day, is to not boil over a pot of cream on the stove.  Seriously.  I had such amazing mentors in that kitchen and they truly made everything attainable for me. I loved my time there.  I learned so much.

Working on the show Top Chef would you say that was more challenging than working in a real kitchen or about the same?  
Working in a professional kitchen is pretty grueling and working on the show that first season, for me, was even more so.  I was the Culinary Producer on the first season and we were laying the foundation for the show from the ground up.  The culinary team consisted of just two of us.  We did everything from setting up what was essentially a restaurant kitchen to helping develop and produce challenges, set styling, food styling and washing dishes.  It was an insane amount of work -- around the clock, for six weeks.  I slept for nearly 3 days straight after we wrapped.

Who was your first big break through client?  
I'd been assisting food stylists in SF, LA & NY for about a year and a half.  I'd started getting my own styling gigs when I got hired onto a big packaging job for a national grocery store chain that lasted several months.  That was my 'lucky break' that enabled me to transition to doing solely my own thing.

What kind of work do you enjoy styling most? Editorial, advertising, film?  
One of the things I love most about my work is the variety.  In any given month, I can shoot the whole gamut:  editorial, catalog, cookbook, packaging, print ads, video, TV.  Cookbooks and magazines are the most creative we get to be and I love it when clients put together the creative team and let us free to do our thing. It's so gratifying for me to create as a team. I do also really enjoy the technical challenges that ad jobs can present.

On your blog, Gorgeous Grub what do you find yourself writing most about?  
Sadly, I don't seem to find the time to write and share my experiences nearly as much as I'd like.  There just aren't enough hours in the day.  I really do love food, travel and photography -- though let me be clear that I make no claims to possessing any photography skills!  I write about food-related adventures or discoveries wherever my travels take me, whether it's around the corner from my house or in another city or country.

Any clients you dream of working with?  
 My fantasy client would send me off to work with cooks/chefs/bakers/pastry chefs all around the globe, styling their creations.  I haven't identified yet who that client is, but maybe they'll read your blog and find me!

Favorite place to eat in San Francisco?    
That's a tough one.  I have a lot of favorites.  There have been so many new, exciting places opening the past couple of years, I sometimes forget about some longstanding treasures.  One of the benefits of having my own blog is that I can keep a running list of the places I really like.   I love checking out the latest restaurant opening and am always on the lookout for inspiration.   I'm really looking forward to the opening of Chocolate Lab, Michael Recchiuti's newest creation.  The list goes on…... I feel so lucky to live in a town with so much creativity and passion that it's virtually impossible to name just one (or 10)!

Food Stylist: Harry McMann

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Photo Credit: Jim Noble
Harry McMann



1. How did you get into food styling?
                I was recruited out of culinary school by a photographer, who had an ongoing project with a supermarket chain. They were fairly simple shots, but high volume. It was a great way for me to get my foot in the door. I liked the work, and discovered a niche that wasn't being filled at the time.

2. Where do you look for inspiration?
                    I subscribe to the usual magazines, Saveur and Donna Hay are a couple of my favorites. But food photography is everywhere. I can't look at a package shot or a TV spot without trying to figure out what they did.

3. You seem to have a lot of hot/prepared food in your portfolio. How much of that is actually hot? How do you make it look hot?
                It's usually not hot. Room temperature works best for most products. You need to keep it looking moist and shiny, that gives the impression that it's fresh and hot. Also steam if it's appropriate.    

4. What is a trick you use to keep the glasses chilled?
            My usual method is to use Rain-X on the glass and then spritz it with a 50-50 mix of glycerine and water. It works best if the glass is brand new.

5. For your ice cream shot, how long did that stay “fresh” on set?
            The ice cream was fake so it will last indefinitely, I use Cool-Whip which is pretty stable. As long as nobody bumps anything, the photographer should have 30-40 minutes to work with it. Of course if you're using real product, it's a different story.
       
6. What has been the most challenging thing to style?
            People are usually surprised to hear me say that the simplest things are often the most challenging. Things like peanut butter, or oatmeal are difficult to style with and aren't very photogenic to begin with. When you're working with something like that it could be a long day! I've seen more than one photographer pull  their hair out trying to get a good image of a single strawberry.

7. Do you work with an assistant or is it solely you?
    Both. It depends on the size and scope of the project. For film and TV, I usually have assistants because the day moves a lot faster, and I don't want everyone waiting on me. A good assistant is worth their weight in gold.

8. Who is your dream client?   
    My dream client was one that got away. I was approached once about working on a project with Julia Child, but nothing ever became of it. For me, that would have been the ultimate.

9. For your restaurant clients have they been in studio or at a location?
        Both, but it seems that lately I'm working on location more. There are advantages and disadvantages to both. I can work either way.

10. Favorite thing to style?
                I hesitate to pick a favorite. I like drinks because when they're shot right, you can get some really cool images. Clients seem to like my burgers and sandwiches, also my ice cream. I live in Maryland so I get a lot of seafood shoots. But It's all good, there aren't many foods that intimidate me.

Food Stylist: Chris Lanier

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http://chrislanierny.com/index.php



1.) How did you get involved in styling?

About 8 years ago, a friend of a friend recommended me to Alison for a job.
She called and asked if I'd like to help out. I had no idea what food styling was then.
I assisted her on a shoot for Williams Sonoma and after that she started calling me for more jobs.

2.) It sounds like you have a cooking background. Did you attend school for that? Self taught?

I went to a small cooking School in Austin TX in a strip mall when I was 18. I worked in restaurants while going to school and continued working in restaurants into my 30's.

3.) Any creatives in your family?

 My family is from a small town in Texas. My Dad was a janitor and also worked in a leather factory. He just retired after many years as a rural mail man. My Mom is a nurse, and my sister is in PR. I am the only one in my family doing anything like this.
Everyone thought it was a little weird that I wanted to become a chef but they all supported me. My inspiration to become a chef came from my Mom and Grandmother who were both amazing cooks.

 4.) What kind of farm do you own in upstate New York?

My fiancé and I own a four acre former goat and horse farm in the Catskills. We are in the process of converting the property into a vegetable farm. We are working on infrastructure and amending the soil before we start planting. We will grow specific crops for chefs in the city and local restaurants. We will also grow vegetables, herbs and flowers for our seasonal supper club called "Ravenwood" which we have at our apartment in Brooklyn or upstate on the farm.


5.) How did you start assisting for Alison Attenhorough? Was it always food?


Alison needed an assistant for a job and a friend of friend gave her my info. We worked well together and have continued to work together for the past 8 years. We have done everything from Grey Goose to Dog food. We've cooked in mansions and dingy hallways on hotplates. We always have a good time, and make the best of it. We are traveling to northern California in August for a Food and Wine story.

6.) Who is your favorite client you have worked for?


I really like working with the new Bon Appetit team. They are all such great people and they love what they do. It's refreshing to work with a group of creative people who are excited about every part of the magazine they produce. Everyone in the test kitchen is great. They are so professional and they take their job very serious to make sure the recipes work and taste great.


7.) Any photographers in the industry you want to work for? Any clients you want to work for?

I would love to work with Gentl and Hyers. I think what they do is so beautiful. They capture the most rich and amazing color and shadow. Their photos are like still life paintings.
 I would love to do a cookbook start to finish with an awesome chef.

8.) What’s your favorite food to style?

I think my favorite food to style is grilled, BBQ, roasted over open fire, cooked in a outdoor oven, cooked on the beach, next to a stream, or on a farm type things. Growing up in Texas, this is how I learned to cook. I think it photographs well, and looks delicious.
I love shooting outside in natural light with elements of the environment peaking in. Food looks best when it's super fresh, and I always find the freshest ingredients.


9.) Is Bon Appetit a continual client for you? Is editorial work the most interesting to you?


 I work for Bon Appetit whenever they call me and I am available. They spread the jobs out between a lot of different stylists, so I'm always excited when they call me for a job. I think editorial work is more my style. I like things that are more natural and real. Although I've learned all the tricks of styling for ad jobs and commercials, it's not something I often feel proud of. Sometimes you have to doctor up the food and smear so much goop, oil and chemicals all over it, so it can hold up for hours or look a certain way. I prefer to work in a more spontaneous environment with photographers who know when to stop. When you get the shot, its nice to move on and keep the pace up.




Foie... Friend.... Foe...

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Irate chefs, and frenzied gourmands are what filled California’s streets (not really) after the ban of Foie Gras.

What is Foie Gras?

Definition: Is the liver of a duck or goose that has been enlarged through a special feeding technique and then served in pates, or a main ingredient in a hot dish. It’s a specialty that not all restaurants would serve.

The controversy: This technique is essentially a form of force feeding which is seen as animal cruelty. This goes beyond just raising them.

There are plenty of sites against it:
http://www.nofoiegras.org/
http://www.stopforcefeeding.com/content/what-foie-gras


For French inspired restaurants in California they are going to have to fill that space on the menu with something else. Maybe... a veggie dish? Nah.


Having eaten it several times and enjoying it, from a East Coast perspective I feel it’s perfectly ok. I consider it a technique in cooking than animal cruelty. What about lobsters? We can’t throw them in boiling water now because it will hurt? They taste so good though!

Just the other week France has actually gotten “involved” with this ban on the delicacy in California by boycotting California wines sold in France that actually ARN’T sold in France.

You can read more about that here:

http://insidescoopsf.sfgate.com/blog/2012/07/09/in-response-to-the-foie-gras-ban-french-merchants-boycott-california-wines-that-they-dont-sell-anyway/


As long as this feud doesn’t hit Philadelphia I’ll continue to eat my duck the way I like it.

Food Stylist: Noah Witenoff

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NOAH WITENOFF




1. How did you get into styling?
Photo Credit: Ryan Szulc 
After graduating from Concordia University with a degree in International Business, I decided to change career paths and go to cooking school to become a cook. In school, my Chef ended up being a food stylist and invited me to do my internship with her on a tv show. I fell in love with the career that I had no idea existed, and then decided I had to become a food stylist. I assisted my Chef while working in restaurants for a few years and then one day, took the plunge and quit the restaurant world. I started shooting my portfolio with photographers and started to make some connections. It took some time, determination and a lot of practice,  but eventually my career took off.
2. What did you start out doing, print of film?
My background started in print other then my internship. I worked on different kinds of projects ranging from Kraft What's Cooking Magazine, to the LCBO (Liquor Control Board of Ontario). Sometimes in the beginning I would be hired to replace someone who wasn't available or I would do things like style pudding in a cup. Not the most glamorous stuff but after some time, people got to know me, and my reputation got better and better.
3. Have you done work in the states? If so where? What clients?
No, all my work has been in Canada.
4. What was the hardest food to style on set? 
The hardest food to style on set for me is a pizza. You don't have much time to get it right. You will have a client (or many clients) and an art director giving opinions of elements that they'd like to see more or less of, and during this time you have to also focus on keeping that pizza alive. The cheese always wants to dry up, the pepperoni oozes grease, and vegetables tend to shrink and shrivel. The trick is to keep everything looking fresh and yummy and realistic but that takes quite a bit of work. 
5. At first working for McDonalds were you nervous? Was is a lot of prepping?
My first McDonald's tv commercial was for the 2010 Vancouver Winter Olympics campaign. I was very nervous as it was not only my first time shooting for McDonald's but it was also my first time shooting a tv commercial! I had worked on a test shoot with a Toronto photographer named Ryan Szulc to bid on a McDonald's print campaign, and from that they requested I work with them on their tv spot. We shot 5 commercials in two days (which is crazy) and we also ended up shooting stills with the athletes. 
Photo Credit: Ryan Szulc 
To make sure I was ready for the job, I practiced quite a bit at home and tried to advance myself as much as possible. I had never seen how it was done so I had to come up with strategies and techniques on how to best move through the day. I had three assistants with me and it ended up going amazing. It was a crazy adrenaline filled two days!
As for prep, there was not too much to do. We used a food styling truck (fully functional kitchen including deep fryer, fridge, freezer, and AC)  on set and all the food was supplied by McDonald's. We just had to cook it and make it look right for the shoot. There was also a bite shot of a Big Mac in one of the spots so we must have made at least 25 non stop! Pretty insane but so much fun. You can still see one of the ads on my site of Alexandre Bilodeau and his Big Mac.
6. Who are some photographers you have worked with in the past?
Some of the photogrpahers I have shot with are:
Toronto: Ryan Szulc, Michael Alberstant, Edward Pond, Kevin Hewitt, Colin Faulkner, Yvonne Duivenvoorden, Brandon Barre and James Tse. 
Montreal: Mathieu Levesque, Louise Savoie, Hans Laurendeau, Martin Girard, Michel Paquet
Ottawa: Christian Lalonde
7. Is there a company/photographer you would love to style for?
I would love to shoot for Donna Hay magazine in Australia and Martha Stewart's magazine in the US. I love what they do and it would be a great team to be part of.
8. Where have you found your inspiration for your props/styling techniques?
I definitely look through a lot of magazines and keep an eye on what other people are doing. Magazines like Donna Hay, Gourmet, and Bon Appetit always have beautiful inspiring shots. Also when I started, I did find it useful to research techniques online when possible and read some of the food styling books that are available. I would read something, test it, and then make it work for me. I always found that these tips were great starting points but definitely needed tweaking. A lot of my techniques have been made up on the spot. If there's a problem, find a solution fast. If the solution works, write it down and use it again and again.
I also try to do a lot of test shoots with photographers. These are great because we get to play with ideas that don't have to fit in a box and are not designed by someone else for a specific objective. These shoots are for us to be as creative as we want and the end result is for our portfolios. This, I would say, is the best way to stay current and inspired.
9. From a business perspective what have you found most beneficial for yourself in your marketing? 
My website has been key from the beginning. I had the site made within a month or two of me starting my own business. It has definitely evolved through the years and I am really happy with the way it looks now. Other then my site, it would be my personal interactions with photographers and clients. Going on "go sees" and meeting people is the best way to let people see your work and what kind of a person you would be to work with.
10. What tool can’t you show up without on set?
There are quite a few but if I had to choose just one, I would say my favourite tweezers. I use them a lot to reach for things on a plate, move things around without messing the whole dish up, and sorting through different kinds of small food items. Tweezers = food stylist best friend :)

Crumble Crostini

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What Ya Need:
-Leftover bread sit out overnight (sourdough)
-Olive Oil
-Sea Salt
-Crushed Red Peppers



 

Preheat oven to 350 degrees.

Cut up the bread into inch slices, than tare the bread into small approximate inch cubes but not perfect.

Place flat on a baking sheet or stoneware.

Drizzle olive oil over the pieces of bread than sprinkle on top sea salt and red crushed peppers.

Place into the oven and let cook for 10-15min or until golden brown on edges.

These are great to pop in your mouth or I put them on my salad. :)








My #PBW2012

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The first 10 days in June are Philly Beer Week. After this post I will probably have one more night of tasting beer and specialty foods.

Joe’s family happen to come down on Sunday the 3rd so we all decided to go to Monk’s. I know I go there all the time but their beers are always different and always good. We ordered the usual Spanish Flies and Ghent mussels (which were perfect). I started off strong with a double IPA by Sierra Nevada. It was something new by them and was full of aromas and had a strong finish. After that I had the Dogfish Saison.

We departed from the folks and ventured down to Stateside. I haven’t been there since I photographed their pickled dish appetizers about a month ago, so I was craving more. Stateside is a whiskey bar with great craft beers. They had some specials going on for Beer Week and you could tell by the crowds of people standing outside. It was a beautiful day so all the windows were open and the sun was pouring in. I had a Victory Hop Devil which was fine considering I was still feeling the earlier drinks. I love their huge concrete bar that wraps from the front door to the opposite wall. For how crazy busy it was the bartenders had their ears open and jumped right on our orders.

By the time we left the skies had opened and got drenched all the way home. That was ok because there was a pint of Ben and Jerry’s waiting for us at home.



















Stateside
1536 East Passyunk Ave
Philadelphia, PA 19148
http://statesidephilly.com/


Monk's 
264 South 16th Street
Philadelphia, Pa 
http://www.monkscafe.com/ 

Beer Week
http://www.phillybeerweek.org/index.cfm

Geoff Binns-Calvey - YOUR special effects guy!

www.manbehindthecurtain.net  Special effects
www.geoffbinnscalvey.com  Sculpture


 
 
Where did you start your special effects endeavors?

 
   I started back in Cleveland, when I was a 24 year old carpenter- I saw an old high school friend, who was now a photographer, looking harried, pushing a cart through a lumberyard. I asked what he was making.
  "A set," he said. "Hey, do you want to build it for me?"
  I said, "Love to, but I have no idea what that involves."
 "Two windows in an eight foot wall. And it only needs to stand up for six hours."
  "I can do that," I said. And not long after, I was his studio manager, rigger, and effects guy.
 
What was your first rigged contraption?
 
  When I was six or seven,  using bits of wire, springs, and scraps from the garage, I made all the doors on my father's old work car pop open when he opened the driver's door. The trunk as well!

Do you work more with photographers or in video? 
 
  I started out with photographers, then got into TV commercials. But now I'm getting more work with still photographers again. The money's the same, and the pace is a little less frantic, so I enjoy it. And I've got a lot of the more complex equipment and tools from video shoots, which I can bring to still shoots.

  For your over sized props like OfficeMax, what were they made of?
 
      The Office Max props were a combination of MDF (medium density fiberboard), urethane foam, Bondo, fiberglass, and metal. The giant sheet of paper was just a piece of .016" polystyrene plastic. The giant Dorito was upholstery foam, a two part pourable soft urethane foam, and pigments. Oh, and bits of cut out tissue paper, for the "spice flakes".

What’s your favorite rig you have made?
 
   Hmm... recently, I rigged up a laser guided high powered baseball cannon. I went down to Cincinnati, and spent the day shooting 120 mph baseballs into pinatas full of guacamole and nacho cheese dip, for a Pepto Bismol commercial. They just blew apart. That was a pretty great day! (Video here- save time, and skip to the 1:00 mark) http://www.youtube.com/watch?v=TLK0TVd64lQ

What’s your favorite prop you have made?
 
    A recent favorite was a giant piggy bank, mounted on a mechanical bull rig. That was a couple of weeks of carving, sanding, and painting with my good friend Martha Schrik. The spot, and the pig, came out great!  http://www.youtube.com/watch?v=I7vdaGG7jCA
   
   What do people come to you most often for?
 
     I've been getting a lot of beverage work, recently- bottle dressing, ice, frost, and pours. And I do a lot of grill and flame shots, although it's not the majority of my work. I've got a whole range of equipment for that, with a "cracker fogger" to make room temperature steam or smoke, a set of very nice acrylic "hot coals", and a great, controllable flame rig for grills. And I sometimes make custom grills to match the layout, welding up the grill rods on site, and cutting up the backyard grills as needed to get lights underneath.
http://www.youtube.com/watch?v=THtD2gvNC9g&feature=player_embedded
 
Your work is so specific, does your work come word of mouth or do you market yourself to potential clients?
 
   Mostly word of mouth. A lot of recommendations come from the food stylists. When they see a layout with flames, steam, smoke, pours, splashes, or anything tricky, they'll often say to the photographer, "You know who'd make this all go smoother? Geoff." I owe the stylists big time!
 
Did sculptures come before or after your special effects work? 
 
   About the same time, starting years ago. I was fascinated with prosthetic makeup effects, and got into life cast sculpture that way. Although I don't do that sort of f/x makeup work- it's very skilled and specialized- I use a lot of the same sculpting materials and methods in prop making and rigging.
 
 
What’s your favorite medium you’ve worked in sculpting?
 
  I've been doing some vacuum formed pieces over life casts, that are really interesting. You can get the feeling of draped wet silk, with the color and texture of corroded copper.
 
Photo credits:
  Giant Dorito, Ink/Paper/Scissors; Geoff Binns-Calvey
  Foam Pizza Painting, Pig and Martha; Amy Binns-Calvey
  Standing by Giant Pig; Martha Schrik
  Welding the Grill; Justin Paris

Felicia's Blog Awards: Not to be confused with Saveur Magazine

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Saveur Magazine can’t have all the fun reviewing blogs. So out of their 16 categories I chose my own favorite categories.

Below you will see my winners. These were chosen based on content, style, and appeal to audiences.
Let me know what you think!

Here’s the link to Saveur Magazine’s original posting:
http://www.saveur.com/article/Kitchen/2012-Best-Food-Blog-Awards-The-Winners

It’s fun to review each year. (I’ll be on that list soon)

Cooking Blog
http://alainasullivan.blogspot.com/

Baking and Desserts Blog
http://chasingdelicious.com/

Group Blog
http://www.punkdomestics.com/

Best Recipe Sweet or Savory
http://www.foodinjars.com/2011/12/quince-slices-in-a-spiced-chai-syrup/

Best Food Photography Blog
http://pratos-e-travessas.blogspot.com/

Best Single Food Photo Blog
http://whatkatieate.blogspot.com/2011/10/back-to-regular-swing-of-things.html

Best Single Food Video Blog
http://vimeo.com/28647609

Best Restaurant/ Dining Coverage
http://www.kevineats.com/

Best Celebrity Food Blog
http://www.anthonybourdain.net/

Katrina Tekavec: Food Stylist

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1. Were your original intentions to become a photographer? Was it a food photographer?
I was a photographer for a few years while also assisting a food stylist friend.   Not food, I was a music and fashion photographer.  I started doing prop styling and food styling became a natural progression.  When I started getting more styling work than shooting work, I simply followed the path that seemed more inviting (and lucrative). 


2. Is cooking something your family did or you just fell into cooking and styling food on your own?
My parents weren't terribly interested in food for the sake of food, it was always more about putting edible nourishment on the table and reconnecting at the end of the day.  I wasn't raised in an adventurous home with regard to food.  I forged my own way with food and became a self-taught pastry chef along the way, and I have done that professionally as well. I would say that styling drove my interest in food, and photography is what started it all.  My photographic sensibilities have been invaluable to me as a stylist and also as I'm moving into art direction.  


3. In your bio you explain how you almost double as a art director and a stylists. Do you think that makes you more valuable and gives you more opportunities to be hired for shoots? 
I think that it makes me more valuable on the set because I can take the reigns.  Often I am not even working with an art director, there is a client (or marketing director) and a photographer and together we figure it out.  I have a few new clients that want me to handle the project from conception through execution, including the art direction and the styling and I'm happy to oblige.  Ultimately I would prefer to art direct and hire other stylists.    


4. Is a lot of your work now through word of mouth or do you do a lot of marketing?
My website and word of mouth are the only way clients find me, I haven't ever spent much time in marketing or cold calling.  Referrals are especially nice because I know I've done a good job if someone is passing along my name. 

5. Where do you get your inspirations for styling shoots?
I find inspiration everywhere, even though that sounds like a cheap answer.  I have always liked Donna Hay's style, it is effortless and generally employs the use of a limited palette which is something that I've always done, from the beginning of my career, whenever possible. However I also really like some drama and more intricate lighting, if it's done well.  The open, natural, flat lighting for food photography is nearing its expiration date in my opinion.  It will always have its place but I hope the trend moves toward more variety of styles.  As I move more into art direction I will seek out photographers who's work isn't only about that Real Simple aesthetic.  I also see a lot of really bad, under-styled food photography out there, it makes me cringe.  Rachel Ray's magazine is the number one example, food photography should not look like a guy with a camera stumbled upon someone's kitchen at dinner time.  In my opinion we exist to elevate the whole idea of food and dining and entertaining, we should create aspirational images.  I don't want to see baked-on crud and un-ironed linens.    

6. Is the majority of your work for magazines or more commercial?
I don't do any magazine work.  I do a fair amount of cookbook work, but the bulk of my work consists of packaging and advertising, some video, some film.


7. Do you still teach food styling classes? Do you have prospective food stylists contact you for help?
I no longer teach, but I do hear from people who want to get into the business regularly.  I help out with advice if I have the time, if they aren't reaching out to me during my crazy-busy periods.  If I'm too in the weeds I refer them to another stylist.   

8. Where do you primarily work?
There is no real predictability, sometimes I'm busier in Philadelphia, sometimes New Jersey, it depends on who's got more marketing money to spend :-) 
9. Your recent work shows a variety of cupcakes. Which was your favorite to make?
I liked the Rum & Coke cupcakes because it is a meringue icing which is always a lot of fun to play with.  On that shoot I worked with a graphic designer who was very hands-off with the food and allowed me almost total creative freedom.  That's an ideal situation.

Hawk Krall | what your eating he probably drew

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1.) What is your education background?
Graduated from Pratt Institute with a degree in Illustration / Communication Design. Also my parents (and grandparents) were artists and illustrators so the education started early.

2.) What came first the cooking for drawing?
Both really. I worked crappy food jobs and worked on freelance jobs at night, then somehow found myself working in a French kitchen, then combined the two things and it worked. The discipline and ethos of working in a real kitchen definitely influenced my artwork, and vice versa.

3.) What medium do you usually work in when creating your pieces?
I do loose sketches with soft wood less pencils and then tighten them up with colored pencils before doing a tighter version on tracing paper. The final pieces are gouache and ink on printmaking paper. For illustration jobs that need to be done faster I do ink (brush not pens) on bristol board and color it in Photoshop.

4.) How long does a typical image take to complete?
The full color food paintings take a few days from sketches to finished painting, although I can do them in a day if I have to - although they aren't as tight as I'd like them to be, or I have to keep it really simple. Although I often have to do small illo jobs in a few hours, and 2 days is the most I usually get for an alt weekly cover.

5.) Who have you worked with? Who would you like to work with?
Tons of Alt-Weeklies, especially back when I was doing mostly editorial illustration: Philadelphia Weekly, Baltimore Citypaper, Las Vegas Weekly, Village Voice. Cincinnati Magazine has given me some good work. On the food side of things, there's the menu at Hot Diggity in Philly, I also recently did a series of paintings for The Burger Map, a really cool burger joint in Brazil. I'm currently working on a menu for a Tex-Mex burger and taco food court stall in Malaysia (if you're wondering how these people find me, it's all from Serious Eats) and a giant mural for Pizza Brain, a pizzeria slash pizza museum opening in Fishtown this summer.

I'd love to paint a food truck top to bottom, I've been close to doing it a few times but it hasn't happened yet. I'd also love to do more projects that combine writing and art, like the hot dog article I worked on with Serious Eats for Rachael Ray magazine and also illustrated. Like if Sauveur or Vice sent me to document hot dogs in Uzbekistan or seafood restaurants with live music by bad cover bands in Pensacola, yeah I'd be into it.

Then there's my pipe dream of doing television. I used to do a lot more narrative comics about working in a kitchen, and always thought that a serious TV show about line cooks would be amazing, not a cute foodie show but more along the lines of the Wire. The crazy characters and dedication people have to that life is insane. Bourdain & co definitely got it with Treme and those scenes are probably my favorite in the show.

6.) Is your work in other cities than Philadelphia?
Yeah I've done illustration for publications all over (see last question) and I have my hot dog prints on display / for sale in a handful of restaurants and shops across the country.



7.) Have you collaborated with other illustrators?
Before I was writing for Serious Eats there was Drawing For Food, a food blog Kris Chau (also an amazing illustrator) and I started a few years back - we did a bunch of illustrated posts and even worked on some collaborative illustrations. These days we're both too busy for it which is sort of a bummer. I also recently worked with Thom Lessner on this crazy backdrop for a Comcast kids' show about magic tricks. I love working with Thom and think our styles look great together, maybe somebody will hire us to paint that food truck i was talking about earlier.

8.) What should we look for when your website is fully up and running?
Ha! Yeah I need to get that together. I'd like to sift through the last 10 years of work I've done and really edit it down to the best stuff, and get a bunch of my older editorial older work up there so people realize I draw something other than hot dogs.





I've also got a few shows coming up this year, Space 1026 in July, which will probably be all non-hot dog related, and a bigger show at Hot Diggity the same month (July being National Hot Dog Month) as well as a possibility of something at American Sardine Bar maybe in the fall.

VAPIANO

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When I was in NY the other week for business I wanted something quick to eat but not fast food : /
While walking around I came up to this place on the corner, which looked fairly new and had a very architecturally pleasing inside. It was this modern food court with fresh food and great service. The concept was flawless and you paid when you left.


 

I ordered a chicken and brie panini with a tomato and leek soup YUM! 
 
 

Food Styling by Dawn Brown

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1. What made you decide to be a food stylist?

Mathematics:  A passion for food and wine  +  a background in marketing and advertising + a desire to create  =  food styling!

2. Where are you originally from? 

Toronto, Canada

3. Where did you find it the easiest to get work? To start out?

Magazines, newspaper inserts, small businesses

4. What is your connection to Food on Film?

It's mine.

5. Who are some notable photographers you have worked with?

Top Greek food photographers and, both, Greek and international directors.

6. Where/who have you looked for your inspirations?

Inside myself.

7. What type of marketing do you do for yourself? Is it all word of mouth?

Good work is the best advertising!

8. Do you produce more work in print of television?

50/50 - Many of my clients have me style for both their print and television advertising.

9. What is your favorite food/drink to style?

Salads.  They need speed and precision (a bit like the 100-mtr dash!).  And, cocktails.  Their names alone inspire fantasy!

10. What is your must-have tool on every shoot?

Mechanical knife

11. What can you say is the most important for a food stylist to do when starting out?

 Keep trying. Again, and again, and again. Always work towards the final image, not your pocket.

Food Friday #11

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John F. Carafoli

 

1. Being in the food styling business for numerous years now have you noticed any change in the way you do your job?

Over the years the business has become more restrictive do to several factors: A. There are many more layers of corporate people involved and people are always trying to please the person above them. The best result comes when the client themselves are actually at the photo shoot. Things move faster with direct input. B. The economy is tight now and budgets are watched very carefully. Everyone is cutting costs and budgets..

2. What kind of art did you major in while attending art school? Were your intentions to pursue that as a career?
 
I graduated from the School of the Museum of Fine Arts in Boston and majored in Fine Art and Design. I moved to Chicago and my first job was with the University of Chicago Press as Art director. I worked in Chicago for several years as a designer/art director working for magazines, advertising agencies and publishers. My last job was in publishing as creative director managing ten designers. I left that job and Chicago, moved back to the East Coast and pursued a career in food. 

3. Was it hard to get your work published? How long did that take?
 
I started writing for the Boston Globe, working with photographers who shot my articles. They got to know me and started hiring me as a food stylist.
 
4. Who was your first breakthrough client?

Boston got to small so I moved to NYC. There I continued my writing for magazines and wrote my book Food Photography and Styling the first book on the subject. There was nothing out there so it was fairly easy to get it published. It took about a year of writing and pulling it together.
 
5. One of your titles is a food consultant, can you explain what you actually do? Does it tie into working on set and styling food?

Under the umbrella of food stylist/writer, I am also a consultant working with restaurants and companies developing menus and recipes. I am a “conceptual” person.
 
6. Teaching food styling and cooking classes did you find that there were more aspiring food stylists or chefs?
 
I also have taught food styling course, recipe writing and development and theme cooking classes.
 
7. Looking at where you are in your career do you think you have more editorial work or advertising work? About equal?
 
My styling work consists of advertising, editorial, and packaging. I enjoy styling my own recipes for clients because if I don’t like something in a recipe like color I can change it. Lately I have been doing lots of “liquids” drinks.
 
8. Who was the most notable photographer you have worked with?
 
I have worked with so many great photographers it is difficult to name one good one. It usually has to do with simpatico (on the same wave length) more than anything else. It is a difficult business and we are problem solvers so there has to be this connection. 

9. Where do you look for your inspirations?

My inspiration comes from being open to new ideas, working with creative individuals, bouncing concepts and ideas off of them and of course traveling. Creative people cannot work in a vacuum.
 
 10. For your shoots do the art directors/photographers look to you for recipes or is it a joint collaboration?

I do bring my art directing background into the photo shoot if it is appropriate for me to do it with out threaten anyone.
 













Food Friday #10

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Debbie Wahl




1. Reading your biography it looks like you had a passion and vision for a food career at a early age, was food a big part of your family growing up?

My mom was an excellent cook!  What amazed me was that although she worked full-time, we always sat down together for a full home cooked dinner that included vegetables, salad and a main course. I was her little “sous chef” and always had my assigned chores to help get dinner started.  When I was about 12, I read a book about someone working in the test kitchens at General Mills and I realized then that was something I would love. I attended Ohio University and got a B.S. degree in Commercial Food with an emphasis in food for business. I also received  a minor in Communications which required coursework in art, advertising and marketing—I draw upon what I learned from those courses in almost every job. 

2. Where are you originally from? Where do you currently reside?

I’m originally from Ohio but reside in Maryland. I was recruited by Marriott Corporation to come to the DC area and never left. I mainly work in Pennsylvania, D.C., and Florida. But I love to travel for work—I think I am headed to Texas for a job next week!

3. How did your other services you provide come into play when being a food stylist?

Having a Bachelor of Science in Foods required me to take chemistry and a lot of food science courses.  This proved to be tremendously helpful in knowing how foods are going to react.  Working in restaurants and test kitchens at both Marriott and Stouffers gave me valuable experience in the food service area—knowing how to scale up or down recipes, knowing restaurant equipment, etc.   I mainly do food styling now, but occasionally I am asked to provide recipe development and media support for chefs—it is always fun to do that—I appreciate their skill and they appreciate the fact that I can make their food look good for the camera.

4. Has being a member of different organizations helped your career in making new friends or job opportunities or both?

With over 25 years in the business, I have made a lot of contacts—many of whom have become good friends. Being exposed to actual production—through visits to various production plants has given me great background knowledge. In food styling, it’s knowing where to find that absolute best items for the shots –great produce suppliers, farms,  bakeries,  butchers and fish suppliers,etc.

I’ve used NRA (National Restaurant Association , Linkedin, and IACP (International Association of Culinary Professionals) for contacts. Early on, a group called Home Economists in Business (HEIB)was terrific in linking food stylists and other women in the Food Business. I met fellow food stylist, Lisa Golden Schroeder, at the HEIB Minneapolis Food on Film seminars. She and other contacts I made there have been most valuable.  In fact Lisa and I now co-teach an online food styling class through http://www.photostylingworkshops.com  It’s fun to compare notes with peers and see what they are going through. I’ve gotten job opportunities through Google. Now 85% of work is word of mouth and with my established relationships. Clients such as McCormick, Campbell's, Perdue, and Friendly’s are some that I have had for many years.

5. Did you start out on t.v. and film styling or was it photography?

I first went to T.V. commercials for Stouffers as their company representative—it was there I saw wonderful well-known food stylists in action. My very first food styling job on my own came when I was actually still working for Stouffers—had to style a hot fudge brownie sundae with real ice cream.  I still cringe when I think about it!  Along with print and film styling, I styled for a couple of feature films ---I loved the grand scale of all the movie production, including the massive amount of food needed.

6. Who was your first break through client?

Marriott (which owned Roy Rogers, and Big Boys) was my first big client when I start free lancing.  At the time, Roy Rogers owned about 250 restaurants so I did a ton of print work for them in New York and traveled for them to L.A. for tv shoots.

7. What type of food do you enjoy styling?

I like styling everything. I like the variety. Styling produce is great because the natural beauty and organic shapes. I like to keep things loose and playful as far as my styling. The trend now is a little loose. A casual real approach is what most clients want now—nothing overly styled.

8. I know putting food under hot lights is hard to keep fresh but styling on a grille with a open fire, is that harder? Do you use real fire?

I’ve styled with real flames. I had to keep replacing the food because it would burn up. Now many photographers shoot images of grills with flames and then shoot the food on the grill separately and merge the two shots together.

9. Where do you look for your inspirations?

I look online--Donna Hay, Martha Stewart,  Real Simple, and all the magazines. I look at other stylists work. Donna Hay’s work was groundbreaking in the 90’s. She was the pioneer in the selective focus, “blown out”  look.

10. Do you think social media such as Linkedin helped your career? Is a lot of your work now word of mouth?

Social media is important. It’s helps get your name out there and gives you a chance to show your experience.  A website is essential—but the website just sits there unnoticed unless you have a way to draw people to your site.