Imstepf continues,I was committed to shooting only food, and the
challenge was to bring both types (plate and still life) of
food photography together. We brainstormed and
decided to begin to create new visuals focusing on the
plate shot first. Once a food was chosen and shot idea
created, Selina suggested that I choose a component
from each recipe to shoot as a still-life shot. It worked
brilliantly and we then worked to create ideas for still-
life shots around each plate shot I highlighted.
As we were developing the book, it quickly became
clear that we were on the right track. The connection
between the two sets of images was apparent, and the
style used in each type of image was consistent. In the
end I was able to present two applications of my talent
(plate shots and still life) to buyers, all within one port-
folio. I was thrilled.The next step for Charles was to create a presentation
format that would speak to the work. We decided that double-
page spreads were the way to go. As viewers open each spread
they see both a food plate and the still-life elements of the plate
shot side by side. It worked perfectly.
When considering the online portfolio, it made perfect
sense to carry this layout through to the Web site. When a viewer
downloads the portfolio section, they see two images within one
spread.
Imstepf concurs,I was so excited when the double-page spreads
were discovered in the portfolio-building project
with Selina. I was able to shoot plated food, still-life
elements, and dance back and forth without break-
ing up consistency. This allowed me to shoot what I
love and present it in a format that made visual sense
to me and to my audience. In short, the book
exemplifies what I do with plated editorials, still life,
product, and a sense of place. I felt that using the
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