Falling food and foam-stuffed dishes: the unseen realities of professional food photography

Food photographer Yasmin Albatoul combines natural imagery with elements of the surreal to transform everyday kitchen scenes into works of art. Often depicting food being prepared or poured, or even floating in mid-air, her images have a lightness which belies the painstaking effort that goes into every detail.

Since completing a professional photography diploma in 2017 – and encouraged by her growing following on Instagram – Yasmin has turned what was a hobby into a successful career, winning awards and collaborating with global brands. She currently works from her own studio – the kitchen of her home in Batna, Algeria. Here, she explains the work that goes into creating her incredible images and provides an insider's account of how to find success in such a competitive industry.

"I try not to limit myself to a rigid style; I like merging techniques from different genres. I treat my subjects as models: I position the main product as the central element and take test shots to ensure the right settings and feel, gradually adding decorative elements in the same way a portrait photographer adds accessories. I use synthetic oils to make the food shiny and to highlight the parts of a dish that I want to stand out – similar to how a portrait photographer will draw attention to different facial elements.

"Remember, the results must be breathtaking. You must push boundaries and create something spectacular. My floating food effect adds a dynamic personal touch. I overlay multiple images in post-production to make them look like a single photo. To ensure they are identical, I use manual focus rather than AF, as I need the focus to remain in the same place from one photo to the next.

"After setting the focus, I use the self-timer on my Canon EOS 5D Mark IV or my Canon EOS R, programmed between five and ten seconds. I press the shutter release and have just enough time to drop the food to capture it falling. I repeat the exercise for each falling element, often over numerous takes, before stacking the images in Adobe® Photoshop® CC.

"The Canon Camera Connect app is helpful when using the self-timer to shoot flying objects: I connect my phone to the camera, and as soon as I touch the screen, the timer starts remotely, leaving my hands free to drop the food."

"I brush fruit and vegetables with oil to make the colours more vivid. This keeps food looking fresh – as if it's come straight out of the fridge or oven. I replace juices with thick liquids such as milk or cream, mixed with food colouring. Juice droplets would look translucent in the photo; using thick liquids ensures the colours appear sufficiently opaque.

"I use real ingredients in all my shoots, so to avoid wasting any food I never fill my dishes. When making a plate of spaghetti, for example, I stuff the bottom of the dish with foam to make it appear full."

"The first contact is usually via email or Instagram. We discuss the client's needs, and I give them an idea of my rates. We always talk about the wider aims of the business, as I have to understand marketing strategy and brand identity. Usually clients allow me creative control – very rarely will they interfere. I then plan the final image, drawing a sketch or doodle of what I want to create.

"Once I receive the product, I familiarise myself with the ingredients or how it's used. I then check for previous photos of the same or a similar product. While the end result must be unique, I allow myself to be inspired by what's out there. If the product is a food, I research recipes. Usually, food photographers don't make the food themselves: stylists design the set and a cook prepares the dish. But there are not many specialists in those fields in Algeria, so the photographer does everything. I avoid overcomplicated recipes, to prevent wasting too much time.

"The day before the shoot, I buy the ingredients and select props and accessories. The final step is choosing the background colour. I always use backgrounds which emphasise the central element: contrasting colours, for example, to attract the eye and accentuate finer detail. I photograph each element separately to see how they appear on camera and if they complement one another. These photos provide my baseline, they suggest the results I can expect. I can then make adjustments, removing objects or altering the background as necessary."

"I adapt my sets to individual products and try to keep my presentation balanced. I'm not going to include more dishes than food, for example, and I don't want to clutter up the photo or stifle my main element. Once I am happy with the styling and everything is set up, I prepare my lighting. I prefer working with artificial light, as it allows me to better manage my time. I don't have to wait for the light to be right, and I can schedule shoots in the evening. I work with two Canon Speedlite flashes, setting them up on tripods and light testing to select the brightness and white balance.

"Then I move on to the camera setup. I start by setting up my camera on a tripod. I often need one hand to drop food for my floating effect and the other to trigger the shutter using the Canon Camera Connect app, or to hold a diffuser or reflector. My tripod is my third hand; it allows me to fix my frame in the same position for overlaying in post-production. I fix my focus and arrange backgrounds and accessories. Finally I tweak my aperture, ISO and shutter speeds, taking test shots until I get a result I'm happy with."

"I select the best photos for my client before progressing to post-production. When I started out, I would send over all the photos so the client could pick their favourites, but they would sometimes choose photos with flaws or that were rather difficult to retouch. I look for any technical faults: poor focus, under or overexposure, or blurring. I eliminate any images with obvious flaws – I won't edit a photo that isn't already pretty to the naked eye. This means I can use a more subtle approach when editing and focus on adjusting the colour and light. I simply shift shadows, giving the overall light a softer feel while tweaking the contrast."

"For a long time I worked with a studio where my only job was taking the photo. As a freelancer, I now cook all the dishes, in addition to setting up the shoot and editing afterwards, so I have to manage my time well.

"Travel logistics remain my greatest obstacle. I have a lot of equipment: cameras, lenses, a tripod, reflectors and diffusers. This complicates travel and has forced me to refuse contracts. The Canon EOS R has helped with this. Alongside the EOS 5D Mark IV, it's my favourite Canon camera. The EOS R's features mean I can often leave my tripod behind and travel light. The vari-angle screen means I can turn the camera in any direction and still view the result, which is particularly useful when shooting from above."

"I started photography when I was a psychology student. It was an escape, a moment of respite. From my first experiences in studios and working with other photographers, I knew I could make a profession out of it without sacrificing my passion. The dynamic energy of a photo studio instantly appealed to me, and I adored the mixture of technical skill and creativity involved.

"If anything, I enjoy food photography more now. It has opened many doors for me, teaching me about customer relations and marketing, and introducing me to a large community of photographers who inspire and assist me on my creative journey. Photography has allowed me to evolve and to surpass myself, whether it be for Instagram or as part of an international collaboration."

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