What Equipment Do I Need for Food Photography?

My Food Photography Shopping List (What I’d Buy & What Can Wait)

One of the biggest misconceptions about food photography is that you need a studio full of expensive camera gear before you can produce beautiful images.

You don’t.

In fact, if you gave me a camera, one lens, a tripod and a window, I’d happily photograph food all day.

Over the years I’ve bought well thought out kit. I have made thoughtful purchases as I hate kit sitting on a shelf collecting dust. 

So if you’re wondering what equipment you actually need for food photography, here’s exactly where I’d spend my money.

Camera

Let’s start with the obvious.

Yes, you need a camera… but it doesn’t have to be the latest and greatest model.

If you already own a DSLR or mirrorless camera that lets you shoot in manual mode, you’re ready to go.

Don’t own a camera yet?

Start with your phone.

Modern smartphones are incredibly capable and are perfect for learning composition, styling and, where the light falls.

A better camera won’t suddenly make you a better photographer. Understanding how to use light will.

Lenses

If you’ve got some money to spend, I’d always recommend investing in lenses before upgrading your camera body.

A good lens can last for years.

My recommendation would be:

• 50mm: probably the best all-round lens for food photography.

• 35mm: perfect for wider table scenes and overhead shots.

• 85mm: ideal if you love a more editorial look with beautiful background blur.

• 105mm Macro: fantastic for close-up detail, textures and ingredients.

Do you need all of them?

Definitely not.

Start with one - probably the 50mm lens and learn how to use it well. I bought a new lens each time a client paid me and the last lens I bought (85mm) is actually on my camera the most.

Tripod

I wouldn’t be without mine.

It’s not just about keeping the camera steady.

A tripod allows you to style the food without your composition constantly changing. It’s invaluable for overhead photography and makes action shots much easier when you need both hands free.

If overhead photography is your thing, look for a tripod with a horizontal arm or inverted l I had a egs. i I had a horizontal arm up until last year and then swapped to a tripod with inverted legs.

Natural light

Before you even think about buying lights, learn how to use the one that’s completely free.

Natural window light is still one of my favourite ways to photograph food.

Understanding how it changes throughout the day, how to soften it and how to shape it will improve your photography far more than buying another piece of equipment.

Voile or Scrim

Translation...

Voile: Translucent white fabric from a fabric shop or Amazon that softens harsh sunlight. 

Scrim: A photography diffuser stretched over a rigid frame, available in a range of sizes.

If sunlight is streaming through your window, a voile or scrim will become your best friend.

It softens harsh light beautifully and gives you much more flattering shadows.

For something that costs very little, it makes an enormous difference.

White card

One of the cheapest pieces of kit you’ll ever buy.

White card reflects light back into the shadows, helping brighten darker areas of your scene without needing another light source.

Foam board works brilliantly too.

Black card

The opposite of white card.

Instead of adding light, it removes it.

That might sound odd, but taking light away often creates more shape, depth and drama in your photographs.

It’s one of the simplest ways to make food look more three-dimensional.

Reflector

A reflector simply bounces existing light back onto your subject.

They’re lightweight, inexpensive and incredibly useful.

If you’re just starting out, don’t overthink it.

Even a sheet of kitchen foil can work surprisingly well.

The gear that’s nice to have later

Once you’re photographing commercially, there are a few things that can make your workflow easier.

Notice I said easier, not better.

Your photographs won’t suddenly improve because you’ve bought more equipment.

They simply become more consistent and quicker to produce.

I’d look at adding:

• Extra lenses for different styles of photography.

• Artificial lighting, whether that’s a strobe, flashgun or continuous light.

• Softboxes to soften and shape your light.

• A snoot when you want more directional lighting.

• A tether cable so you can connect your camera to a computer and see your images on a larger screen as you shoot.

Tethering is something I use on almost every commercial shoot. It helps me spot little styling issues, check focus and lets clients see the images as they’re created.

A few ways to save yourself some money

One final thing…

None of this has to be expensive.

Some of my favourite bits of kit have been the cheapest. Don’t be afraid to buy second-hand. Cameras and lenses hold their value well, and you can save hundreds of pounds.

My favourite place to buy used equipment is MPB , and I’ve bought and sold kit with them for years.

Scrims You don’t need an expensive photography diffuser. A £5 metre of white voile from a fabric shop does exactly the same job and will last you for years.

Reflectors Before you rush out and buy a reflector, grab a roll of kitchen foil. It bounces light beautifully and costs a fraction of the price. In fact, I still use foil in my studio today.

The best investment you can make isn’t another piece of kit, it’s learning how to use the kit you’ve already got.

My advice?

Don’t let equipment become another reason not to start.

If you’re starting from scratch, my shopping list would simply be:

• A camera (or your phone).

• One good lens.

• A sturdy tripod.

• A window with good natural light.

• A voile or scrim.

• White card.

• Black card.

• A reflector (or even kitchen foil).

That’s enough to create a fantastic portfolio.

Everything else can come later.

If you’d like to see exactly how I use each piece of equipment in my own studio, watch this week’s episode of The Food Photography Show, where I’ll show you what I use, what I’d recommend buying first and, just as importantly, what I’d leave until much later.