Outtakes is a behind-the-scenes glimpse of images in the Dining section. Andrew Scrivani (@AndrewScrivani on Twitter and Instagram) is a freelance photographer and a regular contributor to The New York Times. He writes the blog making SundaySauce.
In order to make a plate of food look different, you need a variety of shots and angles to choose from when editing a group of photographs. I like to describe it as a push-and-pull method. I like to start far away from my subject and get the pull-back shots, then progressively push in for closer ones.
The image that ran with this week’s Good Appetite column on sautéed squid with chiles is a good example of the pull-back shot. The goal here is to give the viewer a better sense of the overall look of the dish. It is a little more graphic and informational. This type of shot serves as a good accompaniment to the recipe, and it helps readers who want to attempt to make it.
The shot seen above is a push-in of the same plate. This is more of an inspirational shot. The close-up shot is often used to entice the reader and turn a viewer into a reader. The goal is to catch the eye and bring someone deeper into the piece. But at the very least, it provides an arresting visual, which can stand alone.
By using both of these shots in a food column, we can serve readers looking for guidance as well as those looking for eye candy.
