Hi, Tono and welcome to the blog! Please tell us about yourself – where you’re from and how you got started as a food photographer?
Thanks Alex! I’m from Valencia, Spain and my journey into food photography began when I explored various themeares for stock photos. Among them, Mexican cuisine caught my eye, and I found immense joy in capturing its essence. The success of my early Mexican food series confirmed my passion, and I’ve never looked back.
Food photography is more than a niche; it’s a passion that allows me to share the beauty of gastronomy. Every photo is a story, a celebration of culture, and the joy of discovery!
I cook 90% of the food that I work with and I also do my own food style. My way to think about food is that if I cook it well will be beautiful and also yummy. So I always cook to eat it later, then I do my best for both, for the photography and for the enjoyment later!
I also love Mexican food! How would you describe your style? Please show us some examples of your work that you’re most proud.
I used to get bored when I stayed in one style. So I have at least 4 styles that rotate in my food photo depending the client, or if I shoot for stock, depending my mood, the season, or how eager I am to switch to another of my styles. I would reduce to:
Dark Moody: When I feel more creative, I have time enough to work with the light, but then I don’t work with the light, I work with the shadows instead.
High key: When I need to shoot fresh content, luminous but creative at the same time. This minimalist style is more successful commercially. This style is more focused on the spring-summer seasons.
Colourful: Sometimes I love to become more POP or I’m bored of the logical compositions and colour schemes and I love to work with colors beyond boundaries, no limits. Makes me a happy mood when I do this, Is more freestyle and no rules are applied in any sense. Here are two examples:
Commercial: Is more focused in stock (see link to my Shutterstock Portfolio) and jobs for clients, supermarket brands, labels, commercials, advertisement, white or clean background with copy space to fit logos and text. It’s the most boring, easy and profitable since use to be paid work.
Perspective is very important for food photography, how do you decide whether to shoot at an angle, top-down or any other?
I have a distinctive approach to my photography process. To truly understand and represent my subjects, I like to adopt a fresh perspective, much like a child exploring something new for the first time. It’s during this initial observation that I decide how best to capture the subject’s geometry and essence.
When dealing with three-dimensional objects, it’s crucial to choose viewpoints that effectively convey their volume. I often steer clear of top-down or flat lay, opting instead for perspectives that reveal the subject’s depth and dimensionality.
In the case of two-dimensional compositions, I tend to view them from a bird’s-eye perspective. This angle provides a comprehensive understanding of how elements are arranged on a surface, particularly when working with objects spread out on a table.
In essence, I believe in the power of observation and careful consideration before even thinking about adjusting lighting equipment, opening windows to harness natural light, or picking up my camera. It all starts with that initial, unfiltered look – the moment when I truly see and connect with my subject.
Could you talk about depth of field and whether you ever use bokeh when shooting at an angle? What aperture do you recommend to use and why?
When it comes to controlling depth of field, I tend to adopt different approaches based on the type of imagery I’m creating. In the realm of commercial photography, I typically opt for a narrower aperture, hovering around f/8 or even pushing it to f/10, especially when I’m in close proximity to the subject. The goal here is to ensure that as much of the subject as possible remains sharp and in focus.
Conversely, when I’m diving into the realm of creative photography, I find myself drawn to wider apertures like f/2 to f/4. This allows me to pinpoint the camera’s focus precisely on the ‘hero’ element of the scene – the primary point of interest. This selective focus keeps the hero in sharp relief while gently blurring the surrounding elements into a dreamy bokeh, creating a visually captivating effect. The true magic of these images often unfolds when viewed on a large, full-size monitor, where the artistry and subtleties of the soft background truly shine.
Sticking to the technical part for a little longer, which is your go-to gear when it comes to shooting food photography, including lighting?
When it comes to lighting in my photography, I aim to manage various lighting scenarios to achieve the desired visual effect. My studio space is equipped with a multitude of lighting options, allowing me to exercise full control over the ambiance I wish to create. Firstly, I have access to an abundant source of natural light, thanks to strategically placed windows within my studio. These windows provide a canvas for experimentation, as I can manipulate the incoming light in multiple ways to achieve the perfect shot.
My process often begins by opening one or more of these windows and observing the subject in question. I might initially utilize direct sunlight, but I’m always open to incorporating diffusers to soften and diffuse the light, or I may choose to work with the natural light as it is. The beauty of natural light lies in its ever-changing nature; it evolves throughout the day, and no two moments are alike. This unpredictability is what makes it an invaluable tool in my photography. There have been countless instances where I’ve simply opened a window and been greeted by an astonishingly beautiful play of light, far surpassing what I could have meticulously crafted with artificial lighting. Even as time progresses and the sun shifts, natural light continues to surprise me, offering fresh and unexpected perspectives.
While I may not be a purist who exclusively favors the soft, ethereal glow of Northern Light, my studio setup boasts a unique combination of windows. These include north-east, north-west, and south-west facing windows, which allow me to harness stronger, Mediterranean-style lighting when the occasion demands it. North light, with its pure and uncompromising qualities, also contributes to the diverse array of lighting atmospheres at my disposal. However, my personal style has been honed by learning from and adapting to the characteristics of light streaming through my studio windows.
It’s essential to acknowledge that natural light isn’t always cooperative, and it doesn’t consistently align with my creative vision. In approximately 40% of cases, the available natural light may not convey the desired emotions or aesthetics. During these moments, I turn to my trusty flash strobe lighting setup, comprising five 500W Bowens units and several 3KW heads. However, it’s worth noting that I rarely rely on the immense 3k power of those strobes these days.
When working with artificial lighting, I have an extensive collection of light modifiers, including beauty dishes, soft-boxes, and an array of reflectors, each serving a specific purpose. What sets my approach apart is my avoidance of rigid rules and repetitious lighting patterns. Alternatively, when natural light from my studio windows isn’t available for a particular shoot, I pivot towards recreating an artificial lighting setup that closely mimics the ideal natural light I envision. I aim to craft a lighting scheme with strobes, enhancing the narrative and mood of my photographs while staying true to the natural lighting aesthetic I desire.
Whether I’m blessed with the gift of beautiful natural light or crafting it from scratch, my goal remains consistent – to create visually compelling and emotionally resonant images that captivate viewers.
Which agencies did you upload to and did you have regular sales?
I have contributed to all the RF agencies in the past, depending ages, also to Getty/Istock exclusive program, Cavanimages, Offset, Shutterstock, Adobe Stock, Alamy….. Nowadays I’m pretty tired of what you get for what you do. When you don’t cover your expenses: car gas, food, hotel, your hours working and planning, models… it doesn’t worth the effort. You are feeding someone’s else belly and you are not being paid as you deserve.
Agree 100% that the juice isn’t worth the squeeze anymore. Do you work directly with clients, tell us about your experiences!
Until 2010 I was working non-stop with clients, I was more a fashion photographer for a decade at least, only working with models, and only for clients and agencies. At the end of 2009 there was a global crisis but was especially hard in Spain. Spain’s GDP was largely based in the construction industry and the brick bubble explode.
In addition, smartphones started to be decent and I remember clients started to reduce their investment in marketing. They began using smartphones to do their own promotions and working more in-house instead of hiring an external photographer, even if the quality was usually much lower. Of course it began to be difficult to get jobs to feed my family with fewer photo jobs. Exploring new sources of revenue I discovered microstock and began building a portfolio there.
Do you have any funny stories you would like to share from your shoots, or something unexpected that happened?
I wrote a book about the funny stories that happened during 5 years that I focused into travel photography, I did many road trips in US, El Camino de Santiago and similar routes in bike.
I did never publish that book because is hard to sell books, but that book was based in all the stories that I did remember. When you travel, you are all the day out there and always happen things, some of them are funny.
I remember shooting at sunset in San Francisco on Twin Peaks how funny was that every minute was a guy coming to me and saying hello! I didn’t know what was going on, they look to my eyes like waiting for a response but I did not hear any question. Late someone told me that I was at the place and at the right time to get a LGTBI date there.
I was thinking about another reason than that one, it was funny. I also sleep on the Lacandon jungle between Mexico and Guatemala surrounded by roaring jaguar, a real nightmare for me.
It was also funny in Paris; I was alone in the night shooting in the bridge “Pont Alexandre III” I got a perfect frame but needed to be a little more late. A bus full of Asian tourist stopped behind me and at least hundreds of them came down the bus and put their cameras just near my ear to get the same perspective than me. After few seconds some tourists were disturbing the other tourist behind and all become to come just in front of my camera. It was like a nightmare, they did not understand me, they did not speak English, French, Spanish… and it became a mess, I miss my golden hour, I got really frustrated. Most places are over-saturated of tourists and it’s hard to be a travel photographer specially in tourist cities.
Great stories and so cool that you also traveled extensively by bike! Switching gears, may you tell us more about your background in fishing and what inspired you to start your YouTube channel, “Captain Tono and his Fishing Adventures“?
I’ve been crazy for fishing since I was 7 years old, I never enjoy fishing species that I would not eat after being captured. In Mexico when I was nearly 30s I started to do cheap fishing trips with local improvised boats and I enjoyed it like crazy. Then I turned back to Spain and started looking for a place to moor a boat, and at the end bought a small medium size fishing boat.
I enjoyed fishing and each 2 years I sold the boat for almost the same amount that I did buy and bought a better one, bigger and more prepared to rough waters. My last boat was a 2 engine 9 meters length power boat that allow my wife, me and out 2 daughters cross from Spain mainland to Balearic islands and sleep in the boat. We had so much fun.
I got good prizes in fishing tournaments, also took many fish and boat related images for stock. But few years ago I sold my boat as it was too expensive to pay everything related to the boat and the laws became very restrictive about sportfishing, especially to fish Bluefin Tuna and Swordfish that were my beloved species to capture. Years after selling the boat I was missing the sea so bad and started Kayaking.
Today, I fish from the shore and also from the kayak. I have an electric engine powered kayak and is cheap, no gas needed, and I fish much fishes with it. Tired of investing my time, my life and my blood in stock photography was thinking about an alternative.
Being a photographer is a difficult profession today, everyone takes photos with smartphones, action cam, etc.… so I wanted to do something related to fishing but using my tools, I mean my multimedia knowledge. So decide to jump into the pool and start a fishing YouTube channel called Captain Tono Fishing. The first I did was to find my niche inside the fishing channels. Which were my strengths and what can I offer that I haven’t seen yet so much represented, and got a formula (a secret one LOL…) I’m going to develop my videos based in that central idea, and let’s see. From now I only created my introduction as a fisherman Captain and today I’m just preparing my next one.
Hey fellow contributors! I need your awesome photographer powers. Give me those likes, hit subscribe, and let’s crank up those views, your support means the world!
Cool, thanks for sharing your transition from food photography to fishing content. What challenges do you face in making this shift, and how do you overcome them?
Well, I’ve transitioned from giving my life for a ridiculous revenue, to jump into a pool that I’m not sure how deep will be. Let’s say that lately all my projects related to photography did not get success. All my life has been having success in many photography fields. But is not that hard to leave behind what does not feed me with positive energy, and switch to something that who knows… but fishing is fun, is good energy for me, and is what I do for fun. I do not shoot stock photos for fun since long ago, since the industry decay has been evidenced.
Could you share any advice or tips for individuals who are considering starting their own YouTube channels, especially in niches they are passionate about? Is it too late to start?
Yes, 90% of the YouTube channels have not success, probably mine is in the 90% side, statistics exist because shows us the real numbers. The times of easy money coming from any business on the net are gone. I think people must be passionate about what content they are creating first, and monetize a channel is only a small probability. But I put all my energy when I start a project.
New project involve risks and passion, buy if you are proud of what you offer, should be enough. YouTube is a business for YouTube, as Getty is a business for Getty paying 20% to contributors, and Shutter is a business for Shutterstock, we all are only the pieces of a machine that we get the minimum to allow a portion of us keep on creating content to feed those monsters.
Do you still shoot food photography or you’re just taking a fishing break?
Since two months ago I did not shoot any images for stock. I’m going to give a shape to this YouTube channel, creating some content, I am also training my video skills by the way, so I also think that I’m learning how to edit and creating video content that maybe in the future can be skills good to have. And I don’t have an answer to your question since I know nothing about how the future will be. But I don’t want to look to the future with fear, I am in a moment when I am going to take the reins of my life and don’t be scared about which decisions would I take in the future.
You spoke often how difficult it is to be a stock photographer these days, do you think that in a few years Ai will be indistinguishable to photos created by humans, thus making it even more difficult for creators to make a living?
The short answer is: yes for sure. Today, Ai is almost for free because is still learning from us in live. Meaning that we ask questions and we later narrow the Ai results we are providing our human knowledge to refine it’s intelligence still more. At the beginning Ai developers were providing information to learn from what was already online: images, texts, video…. but now we can interact with it and we correct from the results asking for a second response, all this training is really elevating Ai to a higher level of knowledge.
For sure food imagery created with Ai will be as good as human created, not as good, will be better because Ai will be able to mix all the skills from many of us in a single artwork. I am good with light, another creator is good with composition, another one is good with food style…. Ai will get the best of what we are and elevate. It’s obvious, so many movies predicted the fight of the human against the machine. In Sci-fi we saw it more epical, laser guns, titanium robotic fighters… we are now there, reality is less visual than cinema predicted.
Under my point of view the fight will be looking at how Ai is replacing us and we, people creating artwork, writers… and in many other areas as: Customer service representatives, receptionists, accountants, salespeople, drivers, retail services, translators, medical assistants, couriers, telemarketers, factory workers, bank teller, legal assistants, market analysts and traders, teachers, graphic designers, computer specialists…
We creators probably were one of the first professions that have been affected. Ai creating imagery is not only affecting to our sales revenue in stock content, it’s becoming a trend since it’s new, so many content creators and image buyers are excited to work with Ai generated imagery, it’s New! it’s Exciting! it’s Trendy! they feel in the wave of the new technology, as many lover the last Apple iPhone, action cam, game, social network… For me the sad is that Ai has learn from all what we did sweat to kick us on the rear side. You can call me “old school” but I’m losing what I’ve been sweating for almost 15 years. It doesn’t matter how old or young it’s me, it hurts because what we did and do as stock contributors, has been created keeping in mind that we did not create that content for the $5 that we got during the first year for it, we created because we expected to amortize our production expenses and our time and effort during the next years, as a long term investment… and I’m not sure that this will going to happen.
What other challenges do you foresee for photographers due to Ai?
Well… content creators, we are facing what is going to be the big revolution since we evolve from the analog film to the digital imagery.
Photographers and video creators, we are facing an uncertain future in light of Ai’s rapid advancements in content generation. While Ai can streamline certain tasks and enhance creativity, it also poses the potential threat of replacing human creators entirely, with Ai offering efficiency and new possibilities.
I think the potential power to destroy so many professions or to reduce them to a 10% of what they are today, can only be controlled by regulations of govern laws. I’m not sure about how the future will be, but fellow contributors, machines are copying our content to learn our skills and then what will creators will need for? Only for demanding content to Ai’s generators? It’s hard to figure how the future will be for us.
Thanks for this opportunity, Captain Tono, and hope you catch a big one…perhaps one day in Portugal!
Yes Alex I hope so, who knows if fishes won’t use Ai to distinguish our bait and lures from their real food…and yes would be great to meet you and fish in Portugal!
About Alex
I’m an eccentric guy, currently based in Lisbon, Portugal, on a quest to visit all corners of the world and capture stock images & footage. I’ve devoted eight years to making it as a travel photographer / videographer and freelance writer. I hope to inspire others by showing an unique insight into a fascinating business model.
Most recently I’ve gone all in on submitting book cover images to Arcangel Images. Oh and also recently purchased a DJI Mavic 2s drone and taking full advantage and perhaps an Air 3 soon.
Alexandre Rotenberg's Brutally Honest Guide to Stock Photography & Footage 