Rangefinder Magazine

February 2001

Profile: Ian Batchelor
Mouth-Watering Images
Jane Taylor

Ian Batchelor, Auckland, New Zealand food photographer, creates mouth-watering images that make viewers hungry. Ian says his photographs make him hungry too; but fortunately, he gets to eat the subjects after each shoot. Rarely, does he doctor-up the dishes, like many food photographers do to enhance its appeal, so the delicious cuisine may be safely consumed afterwards. This is one of the rewards of his job.

Ian began his career as a still life photographer, which naturally progressed to shooting food. At a time in New Zealand when most photographers were generalists, and accepting a variety of jobs, Ian began deliberately turning down assignments that did not fit the profile of his goals. In fact, he was one of New Zealand’s first specialized photographers.

More magazine was one of his first regular clients, requesting three to four food images every month to illustrate articles for the food editor, Julie Biuso. Later, Biuso worked for Cuisine magazine and Ian’s association carried-over to that publication, which lead to other food clients, such as: Heinz; Nestle; Cadbury; McDonald’s and KFC. In 1999, he worked with Julie Biuso once again to create the popular cookbook, Take a Vine-Ripened Tomato, published by New Holland Publishers (NZ) Ltd. This book won Best Mediterranean Cuisine Book award at the World Cookbook Awards at Versailles in 1999. This team’s, latest cookbook, called FRESH, hit bookstores in 2000, and was also published by New Holland Publishers.

Take a Vine-Ripened Tomato is filled with close-up, in-your-face images that evoke the vibrant colors, tantalizing aromas and the mouth-watering flavors of the Mediterranean. Ian enjoyed editorial freedom on this project because it was the third book he and Biuso have produced together. The only specs he was given was the page size. In the middle of this project, the page size was changed from upright to slightly over square, so the new crop left very little room for bleed, according to Ian. Fuji Velvia 120 film was used for every image—there is no digital imaging. “If I had used digital, it would have meant only one shot for some images because sauces shift and separate; lettuce also moves” Batchelor says.

The Greek shortbread image on page 132 is a good example of Ian’s close-up, in-your-face style. Although the focus is narrow, viewers must still be able to understand the images. The photographs in this book are decidedly the “heroes,” with the vibrant colors and shapes of the background props evoking the earthy Mediterranean origins of the food, according to Ian.

Ian explains the simplicity of his approach: “The Greek shortbread has repeats on either side. The one in sharp focus has appetizing character, but the implication of more is there. The recipe makes about 20. However, if I were to photograph 20, you wouldn’t be able to see one clearly.”

The main light on the right was kept low and slightly behind the subject, according to Ian. To emphasize texture, a medium grid was placed over a Broncolor Pulso flash head. The smaller fill light was to the left of the camera, also direct, with a narrow grid. “Grids over reflectors allow me to light very finely, creating textures and gently filling-in shadows to make luminous, delicious shape,” says this New Zealand imagemaker.

Broncolor lighting equipment was used exclusively on this project. Ian owns Pulso A4 power packs; Pulso flash heads; and a variety of accessories, including: spotlights; reflectors; and grids. The circular grids are his favorite because “they allow a very fine direction of light with gentle fall-off,” Ian says.
A Fuji GX 680 medium format camera, with a long bellows and swing/tilt on the lens plane captured the Greek shortbread image. “The exact f-stop, I don’t recall, but it would have been quite wide, about f/8. I adjust the lens plane in the opposite direction to what you’d do to get everything in focus. Then I adjust the f-stop to get the desired depth-of-focus. This technique draws the eyes of viewers to the part I want them to see. I’m saying, ‘hey, look at this! It’s interesting.’ The rest of the image supports this message and adds complexity. The shutter was set on 1/125 for all the images,” Ian Batchelor explains.

Ian also uses Sinar p view cameras with 8x10; 5x7; and 4x5 film backs, for advertising and packaging shoots. The Sinar p 4X5 camera is most often used with the 300mm lens, but he also uses the 210mm and 90mm Sinaron focal lengths in his studio. The Fuji GX 680 is used for book projects and magazines, with the 210mm; 135mm; or the 80mm lenses.

Ian’s Friendly Food Tips
Here’s some of Ian’s tips for shooting food: “No matter what the subject, my approach to photography is the same. First, it is a communication. I’m telling the viewer that ‘this is what I find appealing. What do you think?’ Next, it is a still life image. What differentiates food from other still life, is its sensual and appetite appeal. Communication with the food stylist is of utmost importance. The food must look natural, like it is about to be eaten. In fact, after a shoot, the food is usually eaten,” Ian says, smiling.
“I set up the background with an empty stand-in plate. The feel of the image is established at this stage. Then, the food stylist and I chat. I want to know how long the food is going to look great. ‘Will the sauce separate? Will the dressing change the tone of the salad?’ My questions depend upon the kind of food. My aim is to achieve my photographic vision, while portraying the food at its optimum. Using light, I bring out its mouth-watering appeal. By the way, the best times to show food photography to perspective clients is just before lunch or at the end of the working day. Catch them when they’re hungry.”

New Zealand has a small, uncertain economy, tied mainly to the export business. Consequently, professional photographers don’t get rewarded as well for their efforts, as in other parts of the world, according to Ian. “Photographers have to work hard and be innovative to make it here,” Ian says.

“However, the main reward is the laid-back, relaxed New Zealand lifestyle. It’s a very enjoyable place to live.”

Ian shoots food for his clients, but for himself, he enjoys photographing rot. “Rot possesses character and is more lasting than food,” says Ian. “Age strips away the gloss of youth, which is transient. I have a whole science project of maturing images in waiting—fused vegetables, drying slowly and gaining texture. An exhibition is a hopeful outcome for these images.”

Ian was given his first Kodak box Brownie camera at the tender age of six. The first portrait he ever shot was of his father. Until he was 18, Ian lived in several countries, including Germany, Singapore and England. He also lived in Hong Kong for a time. He attended Ealing School of Photography in London for three years. After college, Ian assisted three different advertising photographers in London, which was excellent training, and helped crystallize what he learned in college. All the while, he was shooting still life for advertising and doing editorial work for magazines, and sharpening his imagemaking skills. In 1985, he moved to New Zealand, his wife’s homeland, and opened a studio specializing in still life, which eventually lead to food.

Through the years, Ian has won 20 awards from New Zealand Professional Photography Associations. In 1996, he was chosen as the New Zealand Advertising Photographer of the Year.
As far future plans, Ian has just completed images for another cookbook and has yet another one in the works already, so he is keeping busy.

Readers may view Ian Batchelor’s website: www.ianbatchelor.co.nz, or contact him via e-mail at: ian@ianbatchelor.co.nz for more information.

Jane Taylor is a freelance writer based in the Midwest.