Let Your Event Photos Tell the Story
This essay was developed in response to requests for basic instructional material
concerning photos for use in Gastronome. Both general information about picture taking and
information specific to our organization are included to make it possible for even the
novice to achieve good results. It is designed to be useful to a professional photographer
unfamiliar with the organization also.
There is no doubt that engaging a good professional photographer is the best course of
action if a bailliage can
afford it. Often, however, a bailliage must rely on members who are amateurs. These
amateurs can produce very acceptable, and often fine, photographs. They have one big
advantage—they know the organization and they know the membership. Keep this in mind
when the services of a professional are available, and be sure someone is assigned to work
closely with the professional photographer to ensure that the desired photos result.
Regardless of who takes the photos, map out a photo plan for the evening, asking yourself
such questions as: What makes this event distinctive and how can its uniqueness be best
captured on film? Can arrangements be made for food plates to be photographed ahead of
time? Will a photographer be welcome in the kitchen and, if so, when? Is it sufficient for
the photographer to stay just for the reception? If entertainment is scheduled for late in
the evening, would it be better to schedule the photographer then?
Remember that you need to take lots of pictures for the widest final selection. If your
own members are the photographers, have more than one person taking pictures.
Telling the Chaîne Story
The location
Have exterior or interior shots that identify where the event is taking place. You'll want
people in the picture, too, perhaps the restaurant's general manager and/or chef in front
of an identifying logo.
The ambiance
Include pictures showing the décor, centerpieces, and any costumes. Use creative
backgrounds such as a mural or tapestry, draped curtains, a staircase, or a view out the
window. Outside, look for interesting landscaping and architectural details against which
people may be posed.
Ice Sculptures
These can be very dramatic. If it is possible, try showing them being
worked on as well as showing the final result. Ice sculptures should
preferably be photographed against a solid, dark background to silhouette
them and make the details stand out.
Table settings and food displays
Prior to the arrival of the guests, arrange to take a close-up of one
setting and one of the entire table. Also, photograph hors d'oeuvres trays
and/or appetizer displays while they are intact.
Each course
Be sure there is a backdrop available (or have a supply you bring
yourself), such as a small tablecloth, that contrasts attractively with the china. Either
arrange to photograph each of the plates (take two shots) before the dinner begins, if
they can be prepared ahead for you, or arrange with the chef to have a sample of each
course placed on a special side table for you to photograph just before it is served (be
quick, so as not to interrupt the service).
Kitchen shots
If possible, arrange to get some photos of the kitchen staff at work. When
you enter the kitchen don't be shy, yet try to stay out of the way. Kitchens contain lots
of background clutter, which is part of the charm; nevertheless, be particularly aware of
that background so it will look as appealing as possible.
Take them at various angles in action. Be sure to capture any action that
results from the entertainment, such as the guests dancing, or any interaction between the
guests and entertainers.
Take close-up action shots and "posed candids" of people
enjoying themselves. Shoot mostly groups rather than couples. Have guests doing something such as toasting, studying a menu or bottle
of wine, pouring, clapping, singing, dancing, or giving a speech. Be sure any special
guests are pictured, as well as those bailliage members most involved in the planning.
Over the period of a year, try to include all the chapter's members, not just the
officers, in photos you submit for use in Gastronome.
Photos that are
among those most likely to be selected for publication are "ribboned"
members as opposed to those of people without ribbons.
Induction ceremonies
For bailliage records and as a memento for the person being inducted, it
is desirable to have a photo taken of each new member as he or she is being tapped on the
shoulder. For Gastronome, a group photo of new members is more interesting. If only a few
new members are inducted/elevated, they might be pictured together informally. If the
group is a large one, they should be formally grouped, together with the inducting and
bailliage officers, in such a way that each person may be seen. Try to make the setting
special.
Special presentations and formal award ceremonies at
the close of the evening.
These pictures present a challenge because there is often a podium in the
way or a wall behind those being honored that does not make a perfect background. To
achieve better results, you might request that those receiving awards remain afterwards
for a group photo, then move them to a better setting. Include some close-ups.
What not to photograph
General scenery, dull line-ups of people, partial plates of food, tables
that aren't pristine, and people with cigars in their mouths are not suitable subjects.
Don't Take
Pictures—Make Pictures
Composition
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Compose your picture carefully so that you emphasize the principal subject and
subordinate any secondary subjects.
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Be background conscious. Avoid clutter. Be aware of undesirable objects, such as exit
signs, open doors, poles, or anything that might seem to sprout from the subject.
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There may be obstructions in the foreground, such as centerpieces. If so, move them away
or choose another angle.
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Move subjects to the foreground of monuments, signs, etc. to avoid having them simply
blend into the background.
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Ask your subjects to set aside anything undesirable, such as used napkins, camera
equipment, and large purses with shoulder straps.
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Try a different viewpoint. If taking a picture of someone sitting at a table, consider
crouching down and taking the picture from their own level. Or go up stairs or to a
balcony for a different vantage point.
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To get away from the "passport look," have the subjects turn as if for a side
profile, then have them turn toward the front until you start to see their far shoulder.
Two people might be asked to turn towards each other but with both looking at the
photographer.
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For variety, use a large archway or canopy to frame group shots, or a doorway for a
couple. If outside, trees might be used for framing.
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Eliminate dead space in pictures.
Subjects
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Do not cut people off at the ankle. Shoot either three-quarters, closeup
waist and up), or
full-length. If possible, give subjects something to do with their hands.
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Subjects need to be linked visually with each other. Often, in shots taken at a table,
people are too far apart. This can be avoided by having them lean toward each other or by
having other people stand behind the empty spots.
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Have the subjects looking in the same direction, not off in various directions.
Generally, have subjects looking straight ahead or up, not down (which can result in
undesirable eyelids and double chins). The photographer might need to bend down to achieve
the best angle.
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Avoid having subjects looking directly into the sun as eye squinting and severe shadows
result. With the flash on, successful pictures can be taken with the photographer—not
the subject—looking directly into the sun.
Food
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Shoot down on food, thus not distorting any portion.
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Show the entire plate.
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At a buffet, take pictures while everything is untouched.
Use of Flash
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In general, use flash all the time, whether you think you need it or not, outdoors as
well as indoors. Using flash is especially important when you want to achieve a better
exposure balance between a subject in the shade and a fully lighted background. It's a
technique called fill-in flash.
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When you hold the camera vertically, make sure the flash is above the lens.
Red-Eye
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Most of the newer cameras have some way to reduce, though not totally eliminate,
red-eye. Note that alcohol increases the size of the iris, heightening the chances of
red-eye, so take most of your pictures early in the evening.
Glare
Film Processors
Photo Basics for
Gastronome
General Information
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Use the correct speed color film for your camera and for the circumstances. For
point-and-shoot cameras, 200 or 400 speed film is preferred. Develop to produce 4x6 color
glossy (not matte finish) prints. Do not send negatives or slides.
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Photos must be clear with good contrast.
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For an important story, send at least 10–20 good photos.
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If you have a camera with an automatic date feature, be sure to turn it off.
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At the end of the report, identify the photographer, if requested. Credit will be given
once, but no copyright notice, for pictures used.
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Photos generally will not be returned. It is therefore suggested that bailliages order
an ample number at the time a role of film is left for developing.
Photo Identification
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At the conclusion of a report, number and list the photos included and provide a caption
for each. Make an extra copy of the captions so they can be cut apart. Tape each caption
to the reverse side of the picture it describes.
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Never write directly on the back of photos.
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Be sure there is no ink anywhere on the back of any photo submitted. When pictures are
stacked, ink can sometimes smear onto the face of another photo and make it unusable. If
there is ink, cover it with Scotch tape.
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The name of the bailliage and event should also be included on the back of each photo.
Labels are useful for this purpose.
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In all but large group photos, each person must be identified by first name, last name,
and Chaîne title (if any). Simply "guest" will not do. Neither will "Mrs.
..." Each bailliage has a list of active members and their titles and should have a
record of all attendees.
Special
note: If using a digital camera, refer to section on
Digital Photographs.
The Most Common Errors People Make
Improperly loaded film
Make sure the film lies flat and extends just enough to engage properly, but no more.
Check the frame counter after you load to see that the film is advancing properly.
Improperly unloaded film
If your camera does not have automatic rewind, be sure you've fully rewound the film
before opening the camera.
Lens not clean
Avoid dirt, dust, and fingerprints. Use lens tissue and cleaner.
Battery failure
Use fresh batteries and always carry a spare or two.
Faulty film
Don't leave film unused too long or expose to undue heat and humidity. Use it before
its expiration date and process it promptly.
Scratched film
Protect your camera from dust, dirt, and especially sand that can get inside the
camera.
Wrong film-speed setting
If your camera does not set the film speed automatically, check the film speed before
setting it manually.
Subject out of focus
The camera focuses only on the little framed area in the center of the viewfinder. With
an auto-focusing system, if you want to focus on an off-center subject, first aim the
focusing zone at the subject, hold the shutter button partway down to lock in the focus,
and then reframe the shot so the subject lies off-center. Snap the picture.
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