Home > Culture > Mentor Showcase > The 2007 Best-of Series: Jim Scherer
The 2007 'Best Of' Series
We have now produced an annual Best Of issue of the ASMP Bulletin for the third year in a row. As before, we selected twenty projects for our issue — but this year, we had nearly 200 excellent submissions! It was a tough decision, and we thank all those who submitted their work. We hope you will enjoy reading about these projects.
Jim Scherer, Dorchester, MA
Web site: www.jimscherer.com
Project: Food photography for Lindt Chocolate cookbook
Self-proclaimed chocolate lover, Jim Scherer landed a sweet assignment to produce a coffee-table cookbook for Lindt Chocolate. Shooting with medium-format digital and a macro lens for most of the shots, Scherer worked with a team of artistic individuals that included a chocolatier, designer and food stylist. Cohesive teamwork during this extensive project allowed for a flow of creative ideas and energy that was as delectable as the chocolate itself.
All images © Jim Scherer
ASMP: How long have you been in business?
30 years and still counting.
ASMP: How long have you been an ASMP member?
I’ve been an ASMP member since 1981, making it 26 years. I hope that doesn’t make me an old-timer!
ASMP: What are your photographic specialties?
I shoot still life, food and beverage. Although this is mostly in the studio, there is some location and lifestyle photography thrown in, related to these subjects.
ASMP: Please describe the processes and techniques central to the making of this work.
Almost all the shots were done with a Hasselblad H2 and Imacon CF39 back. I love the 120 macro for this kind of work. In addition, the portraits and a few of the fast action shots (pours and so on) were done with a Nikon D200.
For lighting I used daylight in many of the shots, as I’m fortunate to have a studio with that resource. Strobe was the other light source. The lighting is all fairly simple, as I wanted the look to be as natural as possible. With chocolate, the important thing is to get the right color, and to properly render the sheen and highlights so it looks velvety and appetizing.
ASMP: What do you consider your most valuable piece of equipment?
My imagination, without question! Everything else is secondary.
ASMP: What is unique about your style/approach or what sets you and your work apart from other photographers?
I most enjoy finding unexpected beauty in the ordinary things of life, so it excites me to create an incredible image out of something lowly and overlooked like a paper napkin, or some silverware sitting in the sink waiting to be washed. I also get a lot of satisfaction out of pulling all the details of a complicated production together, and getting everything to work so that we can make a client happy. I’m not sure you could say these things are unique and set me apart, but they are definitely things that drive me.
ASMP: How much time was spent in preliminary meetings and preproduction before you began photographing?
My agent and I began discussions with the book’s producer some three months before the project actually commenced. We were being considered along with another photographer on the west coast. Besides negotiating on the budget, the client reviewed portfolios of a number of stylists whom I had recommended. When we were closer to agreement, there was a face-to-face meeting with myself, the stylist, the producer, and the client — mainly to cement the relationship.
ASMP: Was there any specific aspect of preproduction that was the most useful or insightful?
Yes! We were a new team and about to embark on a 15-day journey together, so to speak. So right at the start, we had budgeted to do a one-day test shoot with just the stylist and myself, to create a visual “vocabulary” for the book based on all the input we had already received. There were so many things to establish — you could call it the voice of the book, as determined by color palette, lighting mood, degree of intimacy with the subject, and style of props. So with the results of that first testing day, we had lots to talk about with the client and could zero in on a look. From that point on, the rest of the shoot days included the book designer and the chocolatier, as well as the stylist, assistants, and myself.
ASMP: What makes a good photo team? What makes a bad one? What is your approach to leadership?
I would say a good team shows mutual respect for the roles of each member, has good communication, and has good personal chemistry where egos don’t get in the way. In some ways, my job is to help each member of the group do their best, as well as be the photographer. We all have to have a willingness to go beyond the basic requirements of the project.
ASMP: When you photograph food do you spend time reviewing the recipes and, if so, what kind of insights or inspiration does this give you?
Yes, I do review the recipes. And I also like to read any copy that accompanies the recipes, to get an idea of how we’re approaching the story. In reading the recipes, I specifically look for whatever ingredients might give the dish color, and I try to figure out whether the plate has structure (some distinctive shape). I ask myself whether this dish is seasonal, and I start thinking about possible accompaniments. And I definitely talk with the stylist ahead of time about all these things. One question I always have for the stylist is how time-sensitive the dish will be, and what their ideal sequence would be for the day.
ASMP: You mention the behavior of food. Do you have any specific tips for success in capturing this photographically?
Yes, and I think this is really important: Don’t overwork the shot. Food is a natural thing with a life and a personality of its own, and each dish is unique. Don’t force it to be something that it isn’t. In short, see if you can let the dish tell you how it needs to be shot, then relax and be open to surprises.
ASMP: What is the essence of chocolate you mention in your narrative? Taste? Aroma? Mouth feel? Look?
Actually there is one more sense you didn’t mention: hearing! So in addition to the qualities you listed, I learned that another sign of the very best chocolate is that it makes a sharp snap when you break it. As far as “essence” goes, I suppose that was just a title the authors came up with.
ASMP: How did working with a chocolatier, in addition to a stylist, influence your shooting?
The chocolatier was like an advisor and technician. She was extremely helpful to the stylist and me in terms of dealing with some of the trickier recipes, and in working with us on the tempering section. Tempering is the process where you work the chocolate at certain controlled temperatures to arrive at the perfect consistency.
ASMP: Was there a specific lighting strategy that you worked with in this project or did you light the shots on a case-by-case basis?
I wanted every shot to have a natural look. I’d never want a viewer to be too conscious of the specific lighting, yet by the same token it was important to show the color, sheen, and texture of all the goodies we were shooting. So each shot was lit individually with those needs in mind. Hopefully they all hang together as a unified body of work.
ASMP: Are you planning any specific marketing strategies related to this project to maximize visibility to your business in tandem with the book release?
Yes. My agent and I negotiated to get 100 copies of the book when it is released, and we plan to use these in our mailings.
