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the
essential
gear Guide for Food
Photography
by Darina Kopcok
The Essential Gear Guide for Food Photography
Copyright© 2020
by Darina Kopcok | Darina Kopcok Photography | Gastrostoria

All rights reserved. 1st edition.

No part of this publication may be reproduced, distributed, or transmitted

in any form or by any means, including photocopying, recording, or other
electronic or mechanical methods, without the prior written permission
of the author, except in the case of brief quotations embodied in critical
reviews and certain other non-commercial uses permitted by copyright law.
For permission requests, write to the author at [email protected]

Acknowledgements
Book design by 22 Creative Studio
Photography and food styling by Darina Kopcok
www.darinakopcok.com
introduction
The quest for the perfect photography kit is never ending. No
matter how much gear you have, it seems like you always need
more. New technology is continually evolving; it can be difficult to
keep up.

When you start off in food photography, you can get by with the
basics until you develop your skills. As you improve as a food
photographer and grow your client list, investing in the best
equipment you can afford will pay off.

We all know that great photography can require a lot of gear.

Fortunately, these days there are some high-quality, affordable
options available.

One bonus of shooting food is that you don’t need a lot of

equipment to start. In fact, you don’t even need studio lighting
because you can use natural light in a lot of scenarios. If you’re
doing commercial photography, however, you’ll need to invest in
artificial lighting and studio gear.

Let’s take a look at the gear required to take appetizing pictures

of food.

Please note the following recommendations are not affiliate links. They are
included as a reference for you to see the specs about the product. Always check
comptability between your gear and specific products.

Gear Guide | 3
camera
One of the most important factors in your camera body is the size
of the sensor.

Cameras with a cropped sensor are cheaper for

manufacturers to produce, thereby making good DSLR’s
accessible to more consumers. A camera with a full-frame
sensor will provide the higher resolution required for most
commercial photography applications.

Every camera has a crop factor, which is used to describe how

much the camera is cropping a given image in relation to the
standard 35mm.

A full-frame camera has a sensor size of 24mm x 36mm and

matches the 35mm cropped standard of a traditional film
camera. It. A cropped sensor is smaller, giving you an image that
looks a lot more zoomed in.

For example, a Canon Rebel has a crop factor of 1.6. If you

multiply 1.6 times the focal length of your lens, you’ll get the focal
length that it appears your pictures were taken at.

For example, if you put a 50mm on a full-frame camera, it will work

like a 50mm. What you see is what you get. Put that same lens on a
camera with a cropped sensor, it works more like a 80mm.

Basically, your lenses will function differently, based on the size of

your sensor.

Also, be aware that some lenses don’t fit on cameras with a

cropped sensor. If you’re planning to eventually upgrade from
a cropped sensor camera to a full-frame, this is something you
need to pay attention to when purchasing lenses.
Gear Guide | 4
recommendations:
dslr cameras
Canon Rebel 2ti
Canon 5D Mark IV
Canon 70D
Canon 6D
Nikon D750
Nikon D850

mirrorless cameras
Sony A6000
Sony A7III
Nikon Z5
Nikon Z7 II
Canon EOS R6

lenses
The quality of your lens is more important than the quality of your
camera body. You should spend a larger portion of your budget on
your lenses.

Luckily, you don’t need a lot of different lenses for shooting food. In
fact, a couple of good-quality lenses will cover most of your bases.

Ultimate sharpness is the goal in food photography, therefore

prime lenses are preferred. Zoom lenses have moving parts which
are required to change the focal length and influence sharpness
and image quality.

Prime lenses are usually ‘faster’. They have a larger

maximum aperture, which enables quicker shutter speeds.

Gear Guide | 5
They also give you a tighter depth-of-field, allowing you to isolate
your subject and get the blurred out background that’s so sought
after in food photography.

Here are the most recommended lenses for food photography:

the 50mm lens

If you’re just starting out in food photography and have a camera
with a cropped sensor, a 50mm will give you a lot of options, and
is a great lens to have in your kit. It’s known as the “nifty-fifty”
because it offers good quality for a relatively low price.

If you have a full-frame camera, this lens works best for wider
shots, such as tablescapes and flatlays. The 50mm is considered
a wide-angle lens in food photography. It’s not always the best
option when shooting at a 45-degree angle because of distortion
issues.

Sigma Art 50mm f1.4 for Canon

Nikon AF-S Nikkor 50mm f/1.8
Canon EF 50mm f/1.4

the 24-70mm lens

Although primes are preferred in food photography, it’s very useful
to have one high-quality zoom lens in your kit. The 24-70mm is
the most popular zoom lens with food photographers.

It’s very sharp for a zoom lens, and incredibly versatile because it
offers the most common focal lengths used in food photography.

Canon EF 24-70mm f/2.8

Nikon AFS FX Nikkor 24-70mm f/2.8
Sigma Art 24-70mm f/2.8 for Canon
Gear Guide | 6
the 60mm macro
If you’re shooting with a cropped sensor, then a 60mm macro is a
great choice. It’s comparable to using a 100mm on a full frame
camera.

This lens allows you to shoot your subjects at 45-degrees, with

nice bokeh, but without the distortion of a lens with a wider focal
length, like the 50mm.

If you upgrade to full-frame, you can use the 60mm macro like
you would a 50mm.

Recommended:

Canon EF-S 60mm macro f/2.8

Nikon AF-S FX Micro-NIKKOR f/2.8

the 100mm macro

A 100mm/105mm macro is an excellent and versatile lens.

Not only is it perfect for macro or close up shots, but also you
can get very nice food portrait shots as well, by pulling further
away from your set. The focal length will give you the lovely
blurred out background and shallow depth-of-field. In this case,
you’re not actually using the macro capabilities of the lens.

A 100mm/105mm macro lens on a cropped sensor will give you a

focal length of around 150mm. This is a very tight crop, and is not
ideal if space is an issue.

Recommended:
Canon 100mm Macro f/2.8
Nikon AF-S Micro-NIKKOR 105mm f/2.8

Gear Guide | 7
tripod
If you’re not used to working with a tripod or think it’s too
“limiting” in food photography, then you need to think again.

The best way to get hundreds of terrible pictures that all look the
same is to crouch down and circle your set with your camera, like
a predator stalking its prey.

You need to free up your hands to style your food according to

what you see in the camera viewfinder. Using a tripod will also
help you create consistent images from shot to shot, which is
really important when photographing a series.

When shopping for a tripod, stability is the most important factor.

A tripod needs to be able to handle a high payload—that is, the
weight of your camera and lens, and any accessories like an
extension arm.

Look for one with both adjustable height and orientation—a center
column that you can move, and ensure that it has rubber feet to
avoid any slippage.

Recommended:

Manfrotto 190
Manfrotto 55 with horizontal column
Manfrotto 55 with horizontal column and ball head
Manfrotto 058 B Triaut Tripod (for overhead shots)

Gear Guide | 8
studio lighting
There are several types of photography lights built for studio use
at a variety of price points. Your choice of lights will depend on
how much power you need and will be influenced by your budget.

You might want to look at cheaper photography lighting brands

like Godox if you’re just starting out. They put out some decent
equipment for an affordable price, and can be a good choice when
you need the flexibility of a studio light but are on a limited budget.

If you understand the physics of light and the principles behind it,
you don’t need top-of-the-line gear to get good results.

You can invest in a higher-end brand for your light source, from
brands such as Profoto or Broncolor as you develop your career
and secure clients with larger budgets, like advertising agencies.

If you do need high-end gear from time to time, you can always
rent it and charge it back to the client.

Here is the lowdown on key food photography lighting equipment:

strobe lighting
Strobe lights are a type of flash lighting. A strobe light can be a
monohead, which houses the battery and light in one compact unit.
Or it can be a light that needs to be hooked up to a high-powered
battery. A speedlight is also an example of strobe lighting.

With these kinds of lights, the strength of the flash output can be
modified. Their power is measured in watt-seconds.

Gear Guide | 9
Certain studio lighting situations require more flash output than
others. For example, an editorial shoot for a food magazine may
require just one light with 400 or 500-watt power. The scene is
small and the requirement for the lighting is usually to look natural.

On the other hand, a much larger scene like a table featuring a big
spread of food might need two or three lights.

When you’re shooting food product or advertising photography,

the client will quite often want the product or food shot on white,
or with a white background. This can necessitate bouncing the
light off white walls or v-flats to get a soft, dimensional look.
Using this technique also requires a lot of power.

When buying strobe lighting equipment, you want to make sure that
you’ll be able to plug it into the wall of the studio without tripping
the power. Some strobes are cordless and don’t need to be plugged
in; they’re battery operated and can also be used outdoors. This
can come in handy if you shoot on location a lot, in places like
restaurants, but not necessary if you’re mostly in the studio.

Note that when purchasing strobe lights, you need a syncing device
that will help you sync your strobe to your camera. If you’re buying a
kit with two strobes or more, this is usually included.

Recommended:

Godox SK400
Godox SK400II Kit
Elinchrom ELC HD Pro 500w
Godox AD600
Profoto D1 Air
Profoto D1 Studio Kit

Gear Guide | 10
continuous lights
Also known as “hot” lights, continuous lights offer a steady light
source. The benefit of working with them is that they allow you to
see exactly how the light is falling on your subject before you
press the shutter.

This is a great advantage for food, product, and still life photography.

However, continuous lights tend to have less power, and matching

the light to other ambient light sources that can influence the scene
can be challenging.

When looking for continuous light, make sure that it has a CRI
(Color Rendering Index) of at least 92 and that it’s daylight balanced.
That way you’ll be able to match it to the natural light in the room.

Another disadvantage to continuous lights is that they can get very

hot, hence the nickname “hot lights”.

Currently, LED lights are changing the face of continuous lighting.

They don’t heat up like other continuous lighting and provide a
high quality beam of constant light.

The best LED lighting equipment costs in the thousands, rivaling the
price of the top strobes.

Recommended:

Godox SL60W
Aputure LS 300x

Gear Guide | 11
speedlights
Speedlights are a type of small flash used in and out of the studio.
They provide light, or in the case of outdoor daylight, add fill light.

However, for regular use in-studio, they are a relatively weak power
source compared to strobe lighting. Speedlights emit about 1/5 of
the power that the average strobe can output. They also produce a
narrow beam of light due to their small size. This can result in
harder shadows and a look that is more obviously “lit” and artificial.

Many food photographers start their artificial light journey

with speedlights because they are relatively inexpensive and offer a
light, portable option with versatility. However, if you intend on
spending a few hundred dollars on a good quality speedlight for food
photography, I’d recommend getting a lower-priced strobe instead.

Unless you’re doing mostly restaurant photography, a strobe will

give you more power and will, therefore, be more useful to you
for a wider range of work. If you get a speedlight, don’t mount it
on your camera hot shoe. This will give you flat and harsh light
with unattractive shadows. For best results, speedlights should
be fastened to a light stand and used off-camera. Note that you’ll
need a trigger for this.

Unless the speedlight comes with a trigger, you’ll need to purchase

a trigger kit. Be sure to check the compatibility with your specific
camera. You’ll also need a mounting bracket to affix the speed
light to a stand.

Recommended:
Yongnuo YN560IV Godox TT685C for Canon
Godox TT685N for Nikon Godox V860ii for Sony
Godox V860ii for Canon Godox V860ii for Nikon

Gear Guide | 12
modifiers for studio lighting
Modifiers help control and shape the light. The modifier you
choose for your food photography will depend on your goal for
the image.

For food photography, the desired result is usually a natural light

look, which is created with soft, diffused lighting. The soft light
will give you soft, subtle shadows and bring out the best qualities
in your subject.

Softbox
A softbox can be square or rectangular in shape, or octagonal.
Because they provide soft, diffused light, they are a popular light
modifier for food photography.

When purchasing a softbox, you’ll need the accompanying

speedring and to make sure that it is compatible with the mount
on your light. For example, Bowens is a common mount for which
you can purchase many different kind of modifiers at an affordable
price. Godox is one brand that requires a Bowens mount.

stripbox
A stripbox is a softbox that is rectangular and narrow. It’s ideal for
liquor photography or situations where a long, narrow beam of
light is required. A popular option is the Godox stripbox. Because
the beam of light is narrow, you have more control over where the
light falls.

Gear Guide | 13
umbrella
An umbrella is another common modifier for food photography
and is relatively inexpensive. They come in silver or white.
The light is shot into the umbrella to reflect back into the scene.
This helps you create a larger and thus softer light source. The
problem with umbrellas is that the light tends to spill, so they can
be harder to work with.

reflector
When you buy an artificial light like a monohead, a reflector is
often included. They are a standard lighting modifier that attach
to your strobe. They create very hard, directional light.

Typically, they are used with a variety of grids to help control the
beam of light. A reflector is a good modifier to use when
bouncing light off white cards to produce a soft wash of
directional light.

grids
Grids come in several sizes and forms. They are a type of
attachment you can use with other modifiers to create lighting
with a larger amount of contrast.

Some of these grids are made of a hard material and can be

attached to a standard reflector, or they can be soft and attach to
the front of a softbox or stripbox.

In the case of a hard grid, they often come in a honeycomb

pattern and in different sizes. The purpose of a grid is to add
contrast and control the quality of light and the area of coverage.

Gear Guide | 14
A 50-degree grid will give you more coverage than a 30-degree
grid. Less restriction of the light will allow more light to pass
through, thus giving you a brighter image and the ability to
increase your f-stop. The spill in the shadow areas of the image
increases as you go to larger grids. I recommend a 30-degree
grid for food photography.

snoot
A snoot allows you to create a focused beam of light on a very
specific area when you’re lighting food. For example, creating
background light or skimming light on the top of your food.

Recommended:

Godox 36-inch/90 cm Parabolic Softbox

Godox 9x35-inch 22x90cm Honeycomb Grid Stripbox
Godox SN-04 Snoot for AD400
Neewer Conical Snoot Kit for Bowens Mount
Westcott 3x4 Softbox
Neewer 51-inch/140cm Beehive Octagon Umbrella
Godox 47-inch/80cm Softbox with Honeycomb Grid
Impact Large 51-inch Deep White Umbrella
Godox 35.4 x 35.4-inch Softbox with Bowens Speedring

Gear Guide | 15
studio lighting accessories
c-stand
Several C-stands (Century stands) are a must in every food
photographer’s studio.

They are used to set up your modifiers, hold reflectors and

diffusers, or rig backdrops behind your set.

Recommended:

Matthews 40” with Grip Head and Arm

Kupo 20-inch Master C-stand with Turtle Base

light meter
To set the power on your lighting and achieve the proper
exposure, you’ll need a light meter. A light meter will allow you to
see if there is enough lighting falling on your scene. You can then
make the necessary adjustments to your flash output or aperture.

Recommended:

Sekonic Flashmate
Sekonic LiteMaster Pro

super clamp with spring clamp and

articulated arm
This is a piece of grip equipment that you can clamp to your
C-stand, table, or even tripod. The original Super Clamp was by
Bogen, which was bought out by Manfrotto. So if you’re going to
purchase one of these, get the one by Manfrotto.

Gear Guide | 16
There are cheaper knockoffs but they don’t tighten down enough,
which is a problem when you’re rigging things.

The articulated arm with a spring clamp will hold bounce cards to
kick light into your set anywhere you need it, squeezing into hard
to reach areas. Again, invest a few dollars more into the one by
Manfrotto to ensure that it will be tight enough.

Manfrotto Super Clamp

Manfrotto Articulated Arm
Manfrotto Spring Clamp

Gobos and Flags

Gobo stands for “go-between”. It is placed in front of a light
source to change its shape. It can be used to narrow the light or
otherwise create a pattern.

For example, you may need to cut down some of the light hitting a
burger bun and creating a patch of glare. This is known as a “hot spot”.

You can buy a set of flags or gobos, but they can be on pricey
side. Make your own by cutting out shapes from a piece of
foamcore. You can attach a wooden skewer to create a handle
and hold it where you need it to affect the light.

You can also purchase a product by Matthews called “fingers and

dots”, which is a specialized kit of small gobos that are ideal for
carving your light in food photography.

The kit includes several different little flags, scrims, and nets to
soften, reduce, or block the light in specific areas in your image.
They can be held in place with C-stands or A-clamps.

Gear Guide | 17
monitor calibration
To ensure your colors are true, especially when it comes to print, you
need to calibrate your monitor with a calibration tool. Color varies
from device to device, so you need to make sure that what you
output renders accurately. This is crucial if you work with clients.

I use my color calibration tool every time I edit.

Recommended:

X-Rite i1 Display Pro

X-Rite Color Munki Display

color checker
A color checker is a device that will help you get accurate color in
your images. It’s particularly helpful if you mix your lighting. It will
also help you get the right white balance in your photos.

To use a color checker, take a shot with it placed in your scene

where the light is not too bright, but also not in the shadows. Once
you are doing your post-processing, you can match your images.

Recommended:

X-Rite ColorCheckr Classic

Datacolor SCK200 SpyderCheckr 24

reflector kit with diffuser

A reflector kit is a relatively inexpensive purchase that can make a
big difference in your food photography. It includes foldable discs
that come with gold, silver, white, and black materials.

Gear Guide | 18
You can use them interchangeably, depending on how you want to
direct your light. The gold reflector adds warmth to your subject,
while the silver brightens it.

These kits usually come with diffusion discs as well. Diffusers are
really important in food photography because they soften the light
and affect how much light hits your set. If you’re working in strong
sunlight, or using a studio flash, a large diffuser will keep too much
light from spilling onto your subject and creating hard shadows.

I typically use the largest diffuser possible. You can clamp them to a
light stand or from a boom arm attached to a c-stand.

Recommend:

Impact 5-in1 42x72 Collapsible Oval Reflector

Godox 43-inch/110 cm 5-in-1 Collapsible Reflector

gels
Gels are an inexpensive and handy way to correct for color when
shooting in a less than desirable lighting situation.

For example, you may be using lights that vary in color temperature.
You can match them by placing the appropriate color of gel on your
modifier or speedlight.

You can also use gels creatively. They can provide a bit of a tint to
your images without making them look like a preset or filter has
been added to them.

Recommended:

Rosco Photo Lighting Filter Kit

Gear Guide | 19
laptop stand
A laptop stand for holding your laptop can be very handy to have,
especially if you’re on location and might not have anywhere to place
your laptop when shooting tethered.

Recommended:

Tether Tools Aero Table Tethering Platform

Samson LTS50 Laptop Stand

tethering cord
A tethering cord will allow you to hook up your camera to your
computer so you can see a larger and more accurate rendition of
your image file than you can on your camera’s LCD screen.

When working with clients and art directors, it’s really important for
them to be able to see the image to provide feedback and creative
direction. Even if you’re working alone, it will help you place the
various elements on set and to see details that you might not
otherwise catch.

To tether your computer to your camera, you likely need a USB 2.0 to
Mini B 5-pin cable. Check your device to ensure you’re getting the
correct cord. Look for a cord that has gold tips, so they won’t get
corroded easily.

Recommended:

Tether Tools USB 2.0 to Mini B

Cable Matters USB to Mini USB

Gear Guide | 20
lens filters and lens hood
Lens filters may seem like an unnecessary expense when putting
together a kit of food photography equipment, but a couple of the
right lens filters can go a long way in protecting your lenses and
improving the look of your food photos.

You should have a good quality UV filter on your lens at all times to
protect it from dust and scratches.

A circular polarizing filter will reduce any shine or glare in your

images caused by reflective items like cutlery and glassware, which
are the bane of every food photographer’s existence.

I recommend the brand Hoya, in the size appropriate for your

specific lens.

You should also have a lens hood for further protection. I once
tripped over a tethering cord and my camera took a nosedive off my
table. The filter cracked but my lens wasn’t damaged. A fifty dollar
lens hood saved me from a broken $3000 lens.

A lens hood will also prevent the light from hitting the front lens
elements from the sides and creating flare.

Gear Guide | 21
conclusion
Getting together even the most basic photography kit can be very
expensive, but you can end up spending more in the long run if you
buy a lot of cheap gear that you’ll have to replace in a year.

The best course of action is to buy only what you really need but the
best you can afford. Once you save more money or start bringing in
more clients, you’ll be able to add more photography equipment to
your food photography studio.

Gear Guide | 22
THANK YOU
If you found this eBook helpful, be sure to sign up for my Newsletter.

You’ll also find tons more tips on my food photography blog

Gastrostoria.

Whether you’re a food blogger or a more seasoned commercial

photographer, you’ll find useful posts on topics ranging from
creating DIY backgrounds to how to price your food photography.

I send out regular email tips, which include Lightroom editing

videos, marketing advice, and worksheets to help you in your food
photography business.

There is also a monthly mega newsletter full of inspiration and

resources. Signing up for the newsletter will give you access to
several free eBooks and resources you won’t find anywhere else.
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