A $100 DEPOSIT YOUR DATE(S). A CONTRACT WILL ALSO BE SENT AT THIS TIME WITH ALL SES-­SION DETAILS. THE CONTRACT CONTAINS A DIGITAL SIGNATURE FOR QUICK AND EASY SIGN-­ING. PAYMENT OF THE REMAINDER OF THE ESTIMATED TIME IS DUE ON OR BEFORE YOUR SES-­

SION DATE.

ALL INVOICES WILL BE SENT TO THE EMAIL PROVIDED VIA PAYPAL FOR SECURITY. PAYMENT CAN ALSO BE MADE VIA CHECK, CASHIERS CHECK, OR CASH. THERE IS A $25 FEE FOR ALL RE-­

TURNED CHECKS.

IF GIVEN AN ESTIMATE FOR A HALF DAY OR FULL DAY RATE, ANY OVERTIME WILL BE CHARGED BY THE HOURLY RATE ($100). IF GIVEN AN ESTIMATE FOR A HALF DAY OR FULL DAY RATE, CLIENT IS RESPONSIBLE FOR PAYMENT FOR THE ENTIRE RATE. IF THERE IS EXTRA TIME FOL-­LOWING ALL OF THE SHOTS LISTED, CLIENT MAY CHOOSE TO ADD ADDITIONAL SHOTS OR FOR-­

FEIT THE TIME.

THE FINAL ITEMIZED INVOICE WILL BE SENT NO LATER THAN 24 HOURS FOLLOWING YOUR SES-­SION. IF THERE IS FURTHER PAYMENT NEEDED FOR OVERTIME OR OTHER INCIDENTALS, IT MUST BE MADE IN FULL NO LATER THAN SEVEN (7) DAYS FOLLOWING THE INVOICE. GALLERIES

WILL NOT BE RELEASED WITHOUT FULL PAYMENT OF THE SESSION.EACH HOUR OF SHOOTING TIME (NOT TO INCLUDE ANY PREP OR CLEANUP TIME) YIELDS 15+

IMAGES.

TWO (2) WEEKS FOLLOWING YOUR SESSION, YOU WILL BE SENT A LINK TO THE EMAIL PROVID-­ED TO YOUR ONLINE PROOFING GALLERY. ALL IMAGES CAN BE DOWNLOADED FROM THE GAL-­LERY WITH ADDITIONAL OPTIONS FOR PURCHASING A USB FOR ADDITIONAL BACKUP OF YOUR IMAGES, A PROOF BOOK FOR REFERENCE, AND HIGH QUALITY WALL PRINTS AND CANVASES.

DETAILS

CLIENT GUIDE

A $100 DEPOSIT YOUR DATE(S). A CONTRACT WILL ALSO BE SENT AT THIS TIME WITH ALL SES-­SION DETAILS. THE CONTRACT CONTAINS A DIGITAL SIGNATURE FOR QUICK AND EASY SIGN-­ING. PAYMENT OF THE REMAINDER OF THE ESTIMATED TIME IS DUE ON OR BEFORE YOUR SES-­

SION DATE.

ALL INVOICES WILL BE SENT TO THE EMAIL PROVIDED VIA PAYPAL FOR SECURITY. PAYMENT CAN ALSO BE MADE VIA CHECK, CASHIERS CHECK, OR CASH. THERE IS A $25 FEE FOR ALL RE-­

TURNED CHECKS.

IF GIVEN AN ESTIMATE FOR A HALF DAY OR FULL DAY RATE, ANY OVERTIME WILL BE CHARGED BY THE HOURLY RATE ($100). IF GIVEN AN ESTIMATE FOR A HALF DAY OR FULL DAY RATE, CLIENT IS RESPONSIBLE FOR PAYMENT FOR THE ENTIRE RATE. IF THERE IS EXTRA TIME FOL-­LOWING ALL OF THE SHOTS LISTED, CLIENT MAY CHOOSE TO ADD ADDITIONAL SHOTS OR FOR-­

FEIT THE TIME.

THE FINAL ITEMIZED INVOICE WILL BE SENT NO LATER THAN 24 HOURS FOLLOWING YOUR SES-­SION. IF THERE IS FURTHER PAYMENT NEEDED FOR OVERTIME OR OTHER INCIDENTALS, IT MUST BE MADE IN FULL NO LATER THAN SEVEN (7) DAYS FOLLOWING THE INVOICE. GALLERIES

WILL NOT BE RELEASED WITHOUT FULL PAYMENT OF THE SESSION.EACH HOUR OF SHOOTING TIME (NOT TO INCLUDE ANY PREP OR CLEANUP TIME) YIELDS 15+

IMAGES.

TWO (2) WEEKS FOLLOWING YOUR SESSION, YOU WILL BE SENT A LINK TO THE EMAIL PROVID-­ED TO YOUR ONLINE PROOFING GALLERY. ALL IMAGES CAN BE DOWNLOADED FROM THE GAL-­LERY WITH ADDITIONAL OPTIONS FOR PURCHASING A USB FOR ADDITIONAL BACKUP OF YOUR IMAGES, A PROOF BOOK FOR REFERENCE, AND HIGH QUALITY WALL PRINTS AND CANVASES.

As a photographer my style is approachable, bold and realistic. I focus on what would entice about a dish or scene. Is it the bright, bold colors of the produce, or the mood of the time of day? While I feel that natural light best captures a scene or dish, I’m not afraid to pull out my speedlite or studio lights to create the right mood in an image.

As Minnesota native, my lifeAs Minnesota native, my life’s biggest adventure had once been moving to Washington, D.C. to attend Howard University. While working towards my International Business and Hospitality Management degree I met my husband, a Naval officer. The moment we found out that our family would be stationed in the Arabian Gulf, I knew I needed my first DSLR to “take nice pictures” of our adventures abroad. While living there, it is was my life long love of food and cooking that brought about my true love of food photography and styling.photography and styling.

I started a food blog as a way to document our family’s Arabian adven-­tures through the dishes we ate and quickly fell in love with food photogra-­phy. In early 2013 we left Bahrain for sunny Southern Spain. While in Spain, I was able to move on from blogging as a hobby to working with restaurants, styling for projects, and capturing memories in kitchens.

In the words of Victorian era Art Critic, John Rushkin, “When love and skill work together, expect a masterpiece.” My love of food and photography, as well as my experiences traveling and living abroad have cultivated a skill for creating beautifully delicious images!

WELCOME!

WHY A FOOD PHOTOGRAPHER?

YOUR SESSION

FOOD STYLING

WHAT IS FOOD STYLING Food styling is a way to make a dish or scene look it’s best for the camera. It can range from making a cheeseburger look freshly grilled and dripping with cheese to setting the scene of a late-­night romantic lob-­ster dinner. Food styling makes food look its best for the camera and also goes beyond by telling the viewer

how a dish can be enjoyed.

DO YOU USE INEDIBLE THINGS TO MAKE THE FOOD LOOK GOOD?

MyMy philosophy is that anything showing on camera should be able to be eaten. There was a trend in the food styling business for a long time of using inedible or misrepresented items (i.e. using Crisco shortening as a stand in for ice cream). However, I feel that what your client sees should be as close to an accurate repre-­sentation of what you provide. Yet, that doesn’t mean that I don’t have a few “stylist” tricks up my sleeve for

enhancing a dish or scene!

DOES FOOD STYLING TAKE A LOT OF TIME? The short answer: it depends. It mostly depends on how complex the dish or scene is and how long it can sit without wilting. A creamy bowl of hummus, for example, is easy to make and will mostly look the same after a couple of hours under studio lights. Whereas a layered Cobb salad would take time to build, but also

won’t have the same shelf-­life, thus possibly taking longer to style (and restyle if need be!)

WHAT’S IN YOUR FOOD STYLIST BAG? WHAT SPECIAL EQUIPMENT OR PROPS MAY YOU NEED?

I have a “bag-­o-­tricks” as I like to call it with various tools for placing delicate food, saucing plates, adding shine to certain dishes, cleaning up splatters, etc… I also have an assortment of white dishes (most food photographs well on white!) as well as colorful dishes. I keep an array of tableclothes, napkins, fabrics, and

utensils. Special equipment is anything outside of my bag and prop collection that may be wanted or necessary for styling or preparing a dish. This can range from a special set of tableware, to a fondu pot, to squid ink im-­

ported from Spain. The possibilities are endless and are dependent on your project.

RESTAURANT/

COMMERCIAL

What is restaurant/commercial photography? Restaurant/Commercial photography includes images of your space and food. This may be images of

your empty space so customers know what to expect when visiting your venue;; action shots during service

to convey the mood and atmosphere when guests are present;; a peak into the kitchen to show your chefs

and cooks preparing the food, and images of the food itself to entice.

How can I make my space look its best?

Declutter and organize! Declutter any space that will be included in the shots and make sure what is pres-­

ent is organized. If there is a place for menus, make sure they are neatly stacked. If your mis en place may

be included, make sure it’s freeh and looks neat. During the day time, often natural light is best and flore-­

sent or overhead lights can be switched off. If tables are lined up, make sure the lines are straight and set-­

tings are straight as well. These are details I’m happy to take care of as well and will be included in prep

time.

Why not just use stock images for my restaurant?

Stock images can be great, but there are hundreds of images of a bowl of spaghetti. Your customer

should know that the image of the bowl of spaghetti they see is the bowl of spaghetti that they will receive

when visiting your restaurant. Setting and managing expectations is paramount in business, and images of

your best dishes can excite and invite customers.

Why is making dishes a certain way better for the camera?

Food often looks great when freshly made, straight from the kitchen. But just because it looks good when

placed infant of a customer, doesn’t mean that it always translates on camera. There are tips and tricks to

taking a dish from looking so-­so on camera to making someone want to dig right in!

KITCHEN LIFESTYLE

WHAT IS KITCHEN LIFESTYLE PHOTOGRAPHY?

Kitchen lifestyle photography is a session that takes place in ones kitchen, yard, or home. It is centered on not only the space, but the emotions of the people, the documentation of the dish(s) prepared, and the dishes themselves. Kitchen lifestyle not only includes the whole scene, but the details that mark the charac-­ter of a space or person. Kitchen lifestyle is perfect for cookbook authors and families who want to capture

special memories.

HOW CAN I MAKE MY SPACE LOOK IT’S BEST? Declutter, declutter, and declutter some more! Leave the things that give your kitchen or space character,

but take out anything extra, as it detracts from the scene. In most cases, natural light is also best.

WHAT SHOULD I (OR WE) WEAR? First, always wear something that you feel comfortable and confident in. Clothing that fits properly is always most flattering. If more than one person are to be in the shots, make sure images coordinate and flatter each other, but avoid going too “matchy-­matchy” as it will make your images look dated. Also, avoid any large logos or characters on clothing as it will detract from your lovely face(s). A colorful apron is always

a fun choice!

WHO PROVIDES THE INGREDIENTS AND PROPS?WWe will discuss the details of the ingredients in our consolation, but most ingredients will be provided by me (and invoiced to you). This is because picking the best looking produce, meat, or other products makes a

big difference in your final images. For props, I can provide anything from my prop collection of tableware, textiles, and utensils. If there are special items to you, we can be sure to include them. Any items which must be purchased to prepare or

style your shoot will be invoiced to you.

PRODUCTS

image to come

Proof Book w/ Images.........50

USB + Proof Book.............................................75

USB w/ Images.......50

PRINTS

A $100 DEPOSIT YOUR DATE(S). A CONTRACT WILL ALSO BE SENT AT THIS TIME WITH ALL SES-­SION DETAILS. THE CONTRACT CONTAINS A DIGITAL SIGNATURE FOR QUICK AND EASY SIGN-­ING. PAYMENT OF THE REMAINDER OF THE ESTIMATED TIME IS DUE ON OR BEFORE YOUR SES-­

SION DATE.

ALL INVOICES WILL BE SENT TO THE EMAIL PROVIDED VIA PAYPAL FOR SECURITY. PAYMENT CAN ALSO BE MADE VIA CHECK, CASHIERS CHECK, OR CASH. THERE IS A $25 FEE FOR ALL RE-­

TURNED CHECKS.

IF GIVEN AN ESTIMATE FOR A HALF DAY OR FULL DAY RATE, ANY OVERTIME WILL BE CHARGED BY THE HOURLY RATE ($100). IF GIVEN AN ESTIMATE FOR A HALF DAY OR FULL DAY RATE, CLIENT IS RESPONSIBLE FOR PAYMENT FOR THE ENTIRE RATE. IF THERE IS EXTRA TIME FOL-­LOWING ALL OF THE SHOTS LISTED, CLIENT MAY CHOOSE TO ADD ADDITIONAL SHOTS OR FOR-­

FEIT THE TIME.

THE FINAL ITEMIZED INVOICE WILL BE SENT NO LATER THAN 24 HOURS FOLLOWING YOUR SES-­SION. IF THERE IS FURTHER PAYMENT NEEDED FOR OVERTIME OR OTHER INCIDENTALS, IT MUST BE MADE IN FULL NO LATER THAN SEVEN (7) DAYS FOLLOWING THE INVOICE. GALLERIES

WILL NOT BE RELEASED WITHOUT FULL PAYMENT OF THE SESSION.EACH HOUR OF SHOOTING TIME (NOT TO INCLUDE ANY PREP OR CLEANUP TIME) YIELDS 15+

IMAGES.

TWO (2) WEEKS FOLLOWING YOUR SESSION, YOU WILL BE SENT A LINK TO THE EMAIL PROVID-­ED TO YOUR ONLINE PROOFING GALLERY. ALL IMAGES CAN BE DOWNLOADED FROM THE GAL-­LERY WITH ADDITIONAL OPTIONS FOR PURCHASING A USB FOR ADDITIONAL BACKUP OF YOUR IMAGES, A PROOF BOOK FOR REFERENCE, AND HIGH QUALITY WALL PRINTS AND CANVASES.

DETAILS