Big picture: how do food photos tell us about the decade?
Photo file life – and food, both in the foreground and backstage, always seem to be in the picture. The two met in a new book, “Feast for the Eyes,” written by the photography curator Susan Bright, and published by Aperture.
The way we photograph food over the years reflects The Times we live in. The first thing that spills over like a fruit basket quickly becomes the way food is commercialized. With the development of photography, food is sometimes used to make statements about important moments in history, such as the great depression or the fight for civil rights.
Sometimes, food is made into art for its own sake.
Today, we want food to look real. Over the past few decades, photographs of food have emerged as a real-time documentary feeling, from the chef of a captured middleman to an ice cream scoop just beginning to melt.
Despite decades of photography style has changed, but in the feast “eyes”, we always goes beyond the simple relationship with food edible – whether it is a humorous, art or politics.
All of the following images in the book represent photography in various times. Everyone tells us something about ourselves, our values and the food world we live in.
Until the decade of the decade, commercial food photography was mostly black and white. In the early days, the only color photographs were made of pigments and dyes. The first color photographs by the French physicist Gabriel lipman, (Gabriel Lippman) creation, his invention won the Nobel Prize in physics, although his process too slow, not suitable for commercial photography. Finally, color photography comes from the idea that all colors can be reduced to red, blue and green. By the decade of the 20th century, the photographer finally had a way to create color photographs on the scene (or in the kitchen).
Since food is a central part of so many social gatherings, it’s not surprising that many photographers are beginning to document how people eat with their lives. The photographs taken by Russell lee is a historical part of the farm security administration, is part of the New Deal program, the program in 1935 to 1944 in the United States formed the iconic image of life.
Food has long been a hot topic of government propaganda. In the 1930s, the Soviet union commissioned two books cataloging the country’s modern and efficient food industry. During world war ii, Nazi Germany used civic propaganda to describe their delight in low-quality meat and potatoes. At the same time, the department of agriculture has reproduced many of the photos, creating a video called “today’s storage is tomorrow’s dinner”. Its goal is to keep the public on education and grow as much food as possible.
In the 1950s, the fictional Betty Crocker created an iconic food brand. The brand “provides a spirit of thrift, storage and preservation of the relationship between the New Deal and wartime food,” according to the feasts. Many brides received the Betty crocker picture cookbook as a wedding gift. Its featured photos and rich colors are still a popular style for food photography in the coming years.
Sophisticated photographers use food as a medium to display new technologies such as stop motion photography. Photographer Harold Edgerton is a professor of electrical engineering at the Massachusetts institute of technology. He puts the image of the milk hanging in the air. The “feast of the eyes” points out: “the legacy and influence of these photos can’t be underestimated. Their changes can be seen in advertisements, even in films such as the matrix.
Over the years, food photography has been used for political and artistic purposes: to question the broad scope of our industrial food system, to challenge gender norms or to comment on consumer culture. Chris maggio’s “male chef” series fits the latter. Susan Bright wrote: “it indirectly sneers at healthy living and food blogs and the value they crave. This photo is from his Thanksgiving collection, which includes images like blue cheese sauce and Turkey gravy or Powerade soaked Turkey spray bottle. Male cooks try to satirize the food porn seen on TV and Instagram. The difference he presents is almost decadent – with cheese, meat or sugar spillovers – but the combination (and the demonstration) makes them feel like a craving for a terrible mistake.
There is a flurry of creativity and experimentalism in food photography, thanks to independent magazines such as Gather or Lucky Peach, a magazine that doesn’t exist anymore. They showed off some of the most creative photography and cooking food, such as the jelly ballroom, or a series of trump and his cabinet members from tortillas, smoked fish and roe of edible images. “It’s not what you want to eat,” Mr. Bright wrote. “Instead, the food here seduces the audience in a different way.”