Boston, MA 062510 Basho roll, Oyster Shooter with caviar and cucumber ponzu, Tofu Hamburg steak and Robata Grill from Basho Brasserie on Boylston St in Boston. (Essdras M Suarez/ Globe Staff)/ G BEHIND THE SCENES: Every once in a while I get sent to photograph food for a review and all the stars just line up. This time the owner happened to be there. Apparently he was at some point a sushi chef and an art director so his sense of aesthetics was impeccable. For all intended purpose he is the one who styled the shoot. TECH STUFF: Like most food shoots I do, I used my 100 2.8 macro lens, ISO 200, aperture 4.0, speed about 60th of a second (the corner of the restaurant I chose was dark enough where I didn't have to worry too much about available light; thus, there was no need for high aperture speed.) I used two off- camera strobes, the one with the major output of light was placed from behind at about 45 degrees with the table- about 2 o'clock on a clock face-- and perhaps about 6" away. The other strobe was positioned slightly to the side and to the front between 7 and 8 on a clock face- in order to c create texture. I had a nice PR woman, Emilia, helping me hold this strobe in a couple of the shots since I like to vary its position while shooting.
Boston, MA 062510 Basho roll, Oyster Shooter with caviar and cucumber ponzu, Tofu Hamburg steak and Robata Grill from Basho Brasserie on Boylston St in Boston. (Essdras M Suarez/ Globe Staff)/ G BEHIND THE SCENES: Every once in a while I get sent to photograph food for a review and all the stars just line up. This time the owner happened to be there. Apparently he was at some point a sushi chef and an art director so his sense of aesthetics was impeccable. For all intended purpose he is the one who styled the shoot. TECH STUFF: Like most food shoots I do, I used my 100 2.8 macro lens, ISO 200, aperture 4.0, speed about 60th of a second (the corner of the restaurant I chose was dark enough where I didn't have to worry too much about available light; thus, there was no need for high aperture speed.) I used two off- camera strobes, the one with the major output of light was placed from behind at about 45 degrees with the table- about 2 o'clock on a clock face-- and perhaps about 6" away. The other strobe was positioned slightly to the side and to the front between 7 and 8 on a clock face- in order to c create texture. I had a nice PR woman, Emilia, helping me hold this strobe in a couple of the shots since I like to vary its position while shooting.
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