A Critical Look at Food Photography and Food Stylist

Oğuzhan Tınmaz-1

Hakan Yılmaz-2

 

Summary

 

The food, which is the object shown in the food photographs where the taste is visualized, has been interpreted through the phenomenon of "reality", one of the most discussed topics in human history. The real food produced in order to overcome the effort to make the photographed food look more delicious and attractive has been replaced by artificial dishes with a flawless appearance designed by the stylists, and the "simulated dishes" with this real appearance are handled within the framework of Baudrillard's "simulation" theory, and reality and reality are repeated again. The reflection of the artificial design that creates the image in the photographs is mentioned. The aim of this study, which focuses on food photography, food styling and its applications, is the food photographs created by food stylists within the scope of Baudrillard's simulation theory,

 

When we taste food, we perceive the taste with our different senses. The smell, taste, texture and appearance of the food give us an idea about its taste. When we see a photo of a food, we feel the taste with our eyes. The visual in the photos can cause our mouths to water and our appetite to rise. Food stylists, who take on the task of preparing the food at the stage of creating the photographs, visualize the taste by transferring their knowledge and experience to the plates. In food photographs, where visuality and visual appeal are the most important factors, natural materials are used, as well as non-edible materials when necessary, to make the products prepared look fresher and more appetizing. With special cooking and preparation techniques, inedible materials are given a realistic look, and artificial but real-looking dishes are obtained.

 

The effort to obtain a perfect visuality to make the photographed food appear more attractive results in "simulated dishes" that replace real food prepared to beat. This situation can be explained by Baudrillard's simulation theory. The approach known as simulation theory proposes the view of presenting the unreal as real. With simulation, symbolic food and images take the place of reality in food photographs, and the concrete leaves its place to virtual reality.

 

The phenomenon of "reality", which has caused great controversy throughout the history of humanity, continues to be discussed today. From the perspective of food photography and stylistics, answers are sought for questions such as what reality is, how it is perceived, how it affects us, and food photographs, which we encounter more and more frequently in our daily lives, become the focus of these questions. In addition to the questions of what makes food photos attractive, is what we see in food photos real or a part of the artificial world presented, what stages do food photos go through when creating, what is considered in these stages, and why attention is paid, as well as the questions of stylists who produce food photos and the objects that appear in these food photos. role is critically examined.

 

1. Food Photos

 

Photography, which accompanies us at every moment of our lives and becomes an indispensable object of our daily lives with its invention, is formed by the chemical recording of the light reflected from a person or thing in the real world on a photosensitive material (Barrett, 2012: 197). Although this definition gives an idea about how photography was formed in the early periods, the recording process follows a different path in digital cameras, which are more used today. Recording of the image in analog cameras occurs as a result of burning the silver ions in the film with the light coming from the lens. 

 

After this process, the process of developing the film begins. Since the chemical process applied in the bathing phase causes time and labor loss and at the same time has a high cost ratio, it has been replaced by digital systems with the developments in technology. Sensors consisting of light-sensitive pixels took the task of recording, which the film took on with the digital cameras. With this development, digital photographs consisting of pixels emerged, the first step of the transition from analog to digital. In digital photographs, just like traditional photographs, it occurs depending on the light reflected from the surfaces in the real world (Barrett, 2012: 199). This is the main reason why photography is described as the art of painting with light. Since its invention, photographs have been used in different fields for different purposes. 

 

One of them is food photos. Food photos, which aim to present the food in a more attractive way, are evaluated in terms of aesthetics, which also causes the structural features of art photography. Food photos are about the look and feel of the food trend. In food photography, photographers seek to create what is aesthetically desirable.

 

Although the opinions that the photographs reflect the reality are accepted critically, it is also a common idea to accept that the photographs are fake and fictional. Today, food photographs, which have become the focus of these discussions, find themselves in the discussion of the real and the fake, with the food object they offer to consumers and viewers.

 

The photograph, which is examined in the light of realistic theories, is formed by the rays reflected from the objects. While the painter interprets and visualizes the objects in the paintings created by the painter during the visualization phase, the photographer visualizes the objects as they are with natural techniques in the photographs. Comments cannot be added as in the picture while creating the photos. Photography is based on realistic, empirical, rational values ​​(fidelity, reality, objectivity).

 

It is known as an art in service (Barthes, 2017: 181). The photograph created by the objects reflected in the lens is indistinguishable from its referent (what it represents) (Barthes, 2014: 17). It is formed by the reflection of the truth, the photograph is the truth itself. The food, which is the object in the photograph, is the reality itself.

 

The photograph, which is accused of not being real by some critics, is thought to be fictional and not reflecting reality. In Newsweek's critique of Avedon's photographs, Douglas Davis said: “The pictures look real, but they are purely fictional.” he said. Wilson, in Artforum, describes photographs as "fictional" regardless of whether they are "real" or "authentic". He says that fictional art creates its own truth (Barrett, 2012: 196). 

 

Editing a photo is a process often done by photographers. A composition is created by relocating the objects visible through the lens or adding new objects, emphasizing the meaning that the objects give or want to be given to the audience. This task undertaken by photographers is undertaken by food stylists in food photographs. Necessary arrangements are made on the objects within the scope of the message to be given to the audience, and the artificial environment created is shown to the audience as real through the lens.

 

Necessary arrangements are made on the photograph in order to reveal the perfect and impressive one. Although it is thought that the arrangements in the photographs occurred after digitalization, it is seen that changes were made on the photographs before the digital technology and it is known that this was done in two ways. The first of these is to change the subject material in accordance with the purpose of the photographer before being photographed, and the second is to change the photographic negatives or print (Barrett, 2012: 213). 

 

With the development of digital technology, photographs are transferred to the computer environment, and the "darkroom", which includes the process of playing with negatives, is replaced by "lightroom" to photo editing programs on the computer.

 

With these arrangements, in addition to changing the clarity, density, contrast and grain structure in the dark room, the images are changed and differentiated pixel by pixel in digital photographs consisting of pixels, and even non-existent objects are added to the photograph. In food photographs, where these applications are frequently used, edits are made on the photographs before as well as after the shooting, and an image that is perfect and aesthetic is tried to be obtained.

 

People who perceive what they see as real have inherited cultural tendencies such as seeing what is photographed through photography and forgetting that photography is a man-made artifact by continuing the beliefs from the past (Barrett, 2012: 205). Grundberg (1989: 1), who harshly criticizes the authenticity of photography and condemns photographs taken for advertising purposes, including food photographs, says, “Photography is the most stylistically transparent of all visual arts, and it represents things in endless detail and from a persuasive perspective. However, advertising has taught us what a fantastic deception photography can be: what is seen in a photograph is often mistakenly mistaken for truth.” He emphasizes that the photographs lost their reality with the emergence of commercial concerns.

 

Food photos that give pleasure when you look at them and gain value as you enjoy them are the photos that we want to have and that trigger the desire to eat. These photographs fulfill different functions. In general, the functions of a photograph; to inform, represent, surprise, cause to show and provoke passion (Barthes, 2014: 41). all this

 

The main purpose of the food photos that fulfill their function is to impress the viewers, to provoke the passion for food and to encourage possession. While fulfilling these functions, the food should not only be pleasing to the eye, but also reveal its edibility and create the perception of being edible and delicious. Food photos, which have various social functions, also fulfill the function of being the object of social progress effort by their social media sharers. Food, which is an indicator of social class, indicates the status held by its sharers and is used as a means of showing it to other people visually with photographs. Food photographs, which are also used by chefs who want to promote themselves through social media, as a means of displaying their talents,

 

Objects come to life in photography with the meaning they carry. Photography is an object that has been studied, selected, arranged, established, processed according to professional, aesthetic or ideological norms (Barthes, 2017: 12). These are to some extent connotation factors. Connotations are the meanings that are intended to be conveyed to the encoded audience through or using objects. What is important for the production of connotation is that the objects are signs of current associations (for example, library = intellectual), or, more implicitly, real symbols (Barthes, 2017: 15). 

 

In food photographs, objects with connotations are used to increase the effect of the photographs, enabling the viewers to read and make sense of the photograph. While the photograph of a steaming dish means that the food is hot, the quality and ostentatious plates used in the photograph carry a connotation of luxury and magnificence. Food photos are more vivid than the real ones, with their connotations and details, and extreme realism. Meaning is added to images, they are produced and consumed. In this respect, food photography can be considered as an important tool of semiotics.

 

2.Food Stylist

 

Food stylists, who carry out the preparation phase of appetizing food photos that stimulate our senses, are designers and consultants who specialize in food presentations for commercial photography (Bellingham & Bybee, 2008: 238). Food stylists' primary job is to design and deliver great-looking dishes. The term design has many definitions as a dictionary equivalent and many other fields of interest derived from this word (Oygur, 2006: 11). In its basic sense, the root of the word 'design' comes from the design, and 'design' is defined as "the form that something is intended to be or to be done in mind" (TDK, 2018). The word 'design', defined by Friedman (2003), is "to meet a need, for a certain purpose, 

 

Food stylists, who technically realize the concept of design and take up design as a profession, design food photographs that come to the fore with these features, activate the senses and arouse the desire to taste in people, just like a stylist in a fashion shoot, and prepare them for presentation before the shoot, while benefiting from years of experience (Yande). , 2014: 100). Stylists, who blend their experience with imagination in the design process, prepare perfect food compositions that appeal to the eye (Custer, 2010: 7). In addition to experience and imagination, stylists, who must have some features to achieve success, should enjoy dealing with food and beverages and have an artistic perspective. At the same time, with the dexterity required in the application phase of the designs, They should also have the necessary predisposition to apply kitchen techniques (Özdoğan, 2016: 161). The designs created by stylists who have all these features and all kinds of shaping processes are seen as food stylists (Young, 2016: 69).

 

Food stylist and food photography are practiced as a profession today , besides various food and beverage businesses and cookbooks , food and beverageThe traces of food stylists and photographers are also seen on the websites of businesses (Bekar and Karakulak, 2016: 111). The job of food stylists is to design foods and beverages that are featured in magazines, cookbooks, food packaging, television commercials and sometimes movies. Stylists, who use culinary art behind the stage to give the dishes an exciting and attractive look and make them ready to seduce the audience in front of the food visuals, also bring an artistic interpretation to the dishes with the help of their expertise and a creative eye (Manna, 2005: 85). 

 

Food stylists, talented artists in the kitchen, ensure that food looks fresh and appetizing in photos. Stylists, designing dishes that look appetizing, know practically all the techniques and tricks. He uses these abilities to make the food look more delicious and fresh (Young, 2016: 84). The ultimate goal at the center of all these efforts is to produce fresh, artistic and beautiful looking food photos (Manna, 2005: 83). Using their technical knowledge and experience, stylists meticulously prepare their designs by catching the right composition and perspective with creative touches (Fisher, 2012: 19; Puranik, 2016: 50-51).

 

Before the preparation, the stylists visualize the design in their minds and then prepare the materials to be used in the design and the artificial materials to be used instead of the natural materials (Preparing the paper rolls to be put inside to make the whole baked turkey to be photographed look fuller, two cardboards to make the filling cream of the cake made look thicker and neater. cutting the cardboards according to the size of the cake for filling between the cake layer, making the preliminary preparation of the shaving foam used instead of whipped cream in cake decoration by squeezing into a container, etc.). In the application phase, the designers cook and prepare the different components that make up the dish separately, then combine them on the plate for shooting. 

 

With this technique, stylists gain control over food (Maehashi, 2015: 111). In the preparation of a pasta with sauce, pasta, sauce and vegetables are cooked separately; The freshness and brightness of the vegetables cooked independently of the sauce is preserved, and the oiling of the pasta before it is prepared independently of the sauce and combined with the sauce reveals the feeling of brightness and freshness. Before the photo shoot process is started, the food is watched by the stylists from the camera point of view, as a result of the observation, the defects in the food are found and corrected. Meals should never be eaten because artificial materials are used at the end of the shooting process and the bacteria rate in the food increases to a dangerous level during the long shooting process.

 

The food stylists, who take part in the 'shooting preparation' phase of the production process of the food photos, undertake the task of designing the perfect meal and bringing the design to life. However, a professional team work is required to determine the content, technical and aesthetic qualities of food photographs and to transfer them to practice accordingly (Çetintaş, 2016: 191). Food stylist (Maehashi, 2015: 111), which is an emerging field of art where careers can be made, is not sufficient on its own in professional photo shoots, and it constitutes the key element of success in food photography within teamwork. 

 

A professional team consists of photographer, art director, advertiser, food stylist, prop stylist and production assistants in parallel with the commercial dimension of the product to be shot. Team members collaborate at all stages of the shoot planning, organization, execution, and publishing process to make sure things go smoothly and the result is a great product (Manna, 2005: 83). According to Çetintaş (2016), the production process of food photography consists of four stages;

 

• Determining the content: The most basic factor that determines the content of the photo is the expectation about that photo. In professional food photography, the expectation is a desired attitude and behavior change in a certain target audience in the context of advertising and promotional activities. In this process, the advertising department works in coordination with the rest of the photography team and takes the role of guiding this process.

 

•Preliminary shooting stage: In this process, where the food stylist is involved, the conditions and necessary materials are prepared for the determined photograph to be realized, the product to be photographed is designed and revealed. At this stage where the food is prepared for the shoot by the food stylist, sometimes it is not enough to just design the food. Although the focus is on food in food photos, the background is an integral part of the overall view of the photo. In addition to the design of the food, the arrangement of the background and ensuring the integrity of the theme are also the responsibility of the designers (Parks-Whitfield, 2012: 25). In the absence of the prop stylist, who creates the ideal environment in the background of the food photograph, the food stylists also undertake the background arrangements. 

 

In order to ensure integrity, in these arrangements made in the background, elements suitable for the theme are used, and the aim of these elements is to increase the artistic appeal (Parks-Whitfield, 2012: 28). In the selection of kitchen accessories, which are the elements that increase the attractiveness, compliance with the theme should be considered, and in the presentation of a classic and luxurious meal, the photographs should be integrated by using classically designed cutlery made of silver or gold, as well as auxiliary elements such as embroidered tablecloths, silk napkins in contrasting colors, crystal glasses and candlesticks.

 

•Shooting stage: the photographer who manages this stage directs the food stylist and prop stylist and makes the necessary arrangements when deemed necessary. The placement of the object, the food, the selection of the light to be used and the determination of the angle of incidence of this light, the angle at which the lens will see the scene, the focal length of the lens, the determination of the clear area and depth are shaped by the expertise of the food photographer and the food is photographed.

 

•Post-production after shooting: It is not enough to take photos of food, after transferring the photo to the computer, it must be edited with digital image processing software. After shooting, the photographs are made suitable for use after a series of processes in the computer environment. Basic issues such as sharpness, white balance, exposure and contrast of the photo are improved at this stage with photo processing software.

 

3. Smulation Approach and Smulakr in Food Photography

 

Visual media channels and social networks, which play a role in mass communication, shape and influence our perceptions of visual appeal with the advancing technology. Food stylists, who prepare food photos presented as visual consumption objects for shooting, use visual appeal to create the perception of taste. The food that is prepared to be eaten and put in front of us on the table, where the taste is at the forefront, is real food. Meals prepared for photography are not prepared to be eaten, but to be photographed. 

 

In these dishes, taste is not sought, the important thing is visual striking and visual taste perception. With the visual perception of taste coming to the fore in food, "food", which is the reality that expresses what exists objectively and independently of human consciousness (Durmaz, 2009: 50), has left its place to artificial reality, which is an illusion, to "simulated food" in food photographs. Simulation, which is trying to eliminate the difference between "real" and "fake" and between "real" and "imaginary" (Baudrillard, 2017: 16), is a false presentation that has all the indications of reality.

 

The use of artificially produced dishes, away from producing real food, in food styling with visual concerns shows that Baudrillard's simulation theory is also applied in food styling. Simulating with the definition made on the first page of Baudrillard's book “Simulacra and Simulation”; presenting the unreal as real, trying to show it, simulacrum; It has been defined as an appearance that wants to be perceived as a reality. 

 

The presentation of food that has lost its reality, derives from reality, looks real and at the same time replaces reality in food photographs that create what is desired to be perceived and presented to the consumer audience leads to simulated meals that lack reality and look real. The derivation of reality devoid of reality through models is called hyperreal, that is, simulation (Baudrillard, 2017: 13-14). The artificial food we see in food photos is hyperrealized by presenting all the visual features of reality as an indicator. 

 

Food is now a simulacrum, it does not imitate or hide that food because it is now the object of food perceived as food. Simulation is to show the nonexistent as being, which is the opposite of hiding what is. To hide (dissimuler) is to pretend that you do not have what you have, while to simulate is to pretend to have what you do not have (Baudrillard, 2017: 15). In food photography, simulation does not present an existing food as a meal in the photograph, but presents a non-existent object as a meal by artificial production. Foods produced artificially and turned into simulacra are perceived as food by people. 

 

Simulating, for Baudrillard, is not pretending. Trying to make people believe by showing the reality of the food prepared for photo shoots is not a simulation to pretend that what is seen in the photos is "food". In this respect, simulated food is the food that has replaced reality, the difference of simulacra food from real food is that it is produced not to be consumed as food, but to consume visually.

 

The main reason why the difference between reality and simulation is indistinguishable is that there is no visual difference between them. This is ensured by the knowledge and experience of the food stylist. The most distinctive feature of the simulation is that it consists of models that have replaced the reality, covering even the most insignificant details. Placing the grains of rice on the plate, the sesame seeds on the burger buns or the slices of vegetables that make up the salad one by one into the bowl with the help of food tweezers are examples of the attention given to details. Models that replace reality used in food styling are used to increase the visual effect in photography, which brings augmented reality to the fore. Augmented reality is the enrichment of objects and spaces in the physical world by using artificial elements (Altınpulluk and Perakende, 2015: 1).

 

The visual enrichment efforts made always make the simulation more effective (Baudrillard, 2017: 85). The processes of creating appetizing, sensuous and captivating food photos that we encounter in our daily life routines take us to a process where reality disappears and simulacra that exists with augmented reality takes its place. Food, which is not produced to be eaten, but is shown to be eaten and becomes hyperreal, is perceived as more real than real. 

 

However, hyperreality works as a cycle of the destruction of reality, just as too many drugs have a toxic effect (Rigel, 1993: 36). We can see this situation through lines that seem more real than reality and that are very difficult to catch or perceive, very secret and very cunningly drawn (Rigel et al., 2005: 244). In other words, food photos are more real than real food.

 

The concept of "authentic", which means original, which has existed for a long time, meets the traditional and is used to describe local dishes. Studies by the media to increase the recognition of local dishes have made these dishes internationally recognized. Although recognition seems to be the reason for the loss of authenticity of dishes, it may also have paved the way for returning to authenticity and wanting to return to traditional. 

 

In cooking programs where local dishes and places are introduced, in magazine and newspaper sections, local people cooking and displaying local dishes that they do not do in daily life in front of the camera and in photographs are actually examples of simulation. Because these programs and shootings do not reflect the daily lives and meals of the local people, they are artificial and produced later. In fact, the local people, who supply their bread from the grocery store in the village square, reveal the production of local bread in front of the camera, creating the impression that the local people always consume the local bread, for the  viewers in front of the television, the readers of the food magazines or the people who follow the food culture pages of the daily newspapers.

 

The increase in these programs and broadcasts causes the authentic to gain importance. Local dishes are desired to be produced and consumed in their own homes by the enthusiasts. Media channels are used for this. The photos of the dishes in the media do not adequately reflect the reality. This is due to the additions made by the designers to the local, using artificiality to make the dishes look more attractive. Actually local food is simulated. In local food, a new reality is produced by moving away from the truth. The newly produced reality, namely the copy, is presented in such a powerful way that the need to see the original is no longer required and the newly produced is accepted by the majority (Odabaşı, 2006: 45). This causes the local to lose its authenticity over time and be replaced by another reality.

 

4. Conclusion and Recommendations

 

Simulations that surround us take place in food photographs, as in all areas, and shed light on our effort to make sense of the world by making us question our perception of reality and reality. The dishes seen in the photographs are simulated and shape our food, the food we will consume in the future and the new food trends we will encounter shape our perception of taste with the imagination of food stylists. While the simulations made enable us to get closer to the perfect meal with each passing day, the increase in our taste bar with each passing day prevents us from getting pleasure and satisfaction from the food we can reach and consume in our daily life.

 

With the developing technology, media channels influence and direct us with visual messages, the importance of which is increasing day by day. As visuality gains importance, ostentatious images, slogans and their meanings are also offered to the market (Odabaşı, 2006: 49). With its stasis and the intense meanings it carries, photography constitutes the building block of visual media. Baudrillard (2012) defines photography, which is the writing of light, as “the technique that takes us beyond resemblance to the bosom of the illusion of reality”. 

 

What is recorded in the photograph is not just a meal, but the visual reproduction of the real thing and transferring it to us as a new reality. What is real here? Is it the food presented as an image in the photograph or the photograph itself? When you want to try a new dish, you either browse through a cookbook or go online and look at recipes on food blogs. We want to bring the food we see in the image to our table, experience it, and give ourselves a feast for dinner. We apply a whole recipe completely, pay attention to the smallest detail and prepare the food meticulously. Although we get a good result in terms of taste, we may be disappointed visually. The food we see and try to make is not the same as the food we make. 

 

While what we see in the photograph is a perfect appetizing, perfect meal, the food we make is not as appealing as in the photograph. Why can't we make the food we see the photo of? Did we apply the recipe incorrectly, or was the recipe given incorrectly? Baudrillard (2012: 144) gives us the answer to these questions with a single sentence: “The photographic image is not a representation but a fiction”. The food we see in the photo is prepared not to be eaten, but to look delicious. These food images are the fictionalized version of the "imaginary" and turned into "real". 

 

They are all "simulated" meals. Simulated, transformed into simulacra meals have all the indications of reality. How can we distinguish the simulacrum from the real one, which has all the indications of food in its image? How do we know that the food we see in the cookbook is the image of the dish for which the recipe is given? It is impossible for us to learn this, because simulations have replaced reality, it does not imitate, it has now become reality, the real is itself. While applying the recipe we see, we try to make the food we actually cook like the food we see in the photograph, which is a simulation turned into reality.

 

Simulation has replaced reality, now we try to make reality look like simulation. Does our effort to achieve simulation bring us closer to a world in the photograph, which is said to be "real" and which is actually infinitely distant from us? (Baudrillard, 2012: 148). We try to achieve the perfect and live the perfect one with simulations.

 

Simulation offers the perfect one using augmented reality. It shapes our perceptions and imposes the perfect by guiding consumption in the decision-making phase. Failure to show and achieve the perfect can result in frustration. The result is dissatisfaction. The environments where this is most common are restaurants serving fast food . Before ordering, the boards hanging above the back of the cash register are examined. The price to be paid for the  menu to be selected is included with the photo of the product.

 

The product to be chosen is usually a hamburger. The menu is selected, the fee is paid and the waiting begins. After a short wait, you will most likely come across a different product than the one seen in the photo. The hamburger bun is not as saturated and voluminous as in the photo because the stylist who prepared this hamburger chose the best one among hundreds of hamburgers. The lettuce inside is not as lively as in the photo, it is wilted because the stylist chose the freshest lettuce before putting it into the hamburger and kept it in ice water to give it vitality. 

 

The meatballs do not look as thick and delicious as in the photo, they are not shiny and oily, they are dried out. While the stylist is preparing the burger, the stylist doesn't actually cook the patty, he swirls a fire on it with a blowtorch, which makes the patty look like it is cooked without losing volume, then the stylist removes the excess oil from the patty with a napkin, brushes the colorant on the patty, and as a result, a delicious looking hamburger is obtained. . 

 

The hamburger purchased cannot look as delicious as in the photo because it is simulated artificial but replaces reality. Our perception is what appears in that photograph, which is defined as a hamburger. If the food created by the stylists in the photograph has now replaced the real thing, if it is the real thing, what is offered to be eaten? Could it be a mediocre form of the reality (what is seen in the photograph) offered for consumption?

 

Foods that are presented as real in photographs and that replace reality shape our perception and encourage us to achieve the better and perfect. The great importance given to visuality sometimes gets in the way of taste. The reason why we choose and consume fruits and vegetables that have a perfect and delicious appearance today, even though they have no taste, is due to the fact that our perception of taste was shaped by visual channels in the past. 

 

Photos with perfect food images are taken as an example by those who produce edible food, and the visual food object in the photograph is seen as a target, which has a positive effect on quality. Despite this, the increase in our expectations day by day increases the possibility of disappointment. Creating images that are closer to edible food in food photos will enable us to experience less disappointment and pave the way for consuming more delicious meals.

 

REFERENCES

Barrett, T. (2012). Criticizing Photography. Introduction to Understanding Images, (Trans./Trans.) Harcanoğlu, Y., 2nd Edition, Istanbul: Hayalperest Publishing House.

Barthes, R. (2014). Camera Lucida Reflections on Photography, (Trans./Trans.) Akçakaya, R., 6th Edition, Istanbul: Altıkırkbeş Publications.

Barthes, R. (2017). Rhetoric of Image, Art and Music, (Trans./Trans.) Koş, A. & Albayrak, A., 2nd Edition, Istanbul: Yapı Kredi Culture and Art Publications.

Baudrillard, J. (2017). Simulacra and Simulation, (Trans./Trans.) Adanır, O., 11th Edition, Ankara: Doğubatı Publications.

Baudrillard, J. (2012). Impossible Swap, (Trans./Trans,) Sönmezay, A., 2nd Edition, Istanbul: Ayrıntı Publications.

Bekar, A. & Karakulak, C. (2016). “Food and Beverage Stylist and Photography”, International Refereed E-Journal of Social Sciences, 53: 104-113.

Bellingham, L. & Bybee, JA (2008). Food Styling for Photographers: a Guide to Creating Your own Appetizing Art, Focal Press.

Custer, D. (2010). Food Styling: The Art of Preparing Food for the Camera, New Jersey: Wiley. Cetintas, E. (2016). Gastronomy and Media, (Ed.) Yılmaz H., 1st Edition, Eskişehir: Anatolia

University Press.

Durmaz, B. (2009). Visual Aesthetics, (Ed.) Altunay, A., 1st Edition, Eskişehir: Anadolu University Press.

Fisher, H.J. (2012). “Food stylist food image creation for print media and consumer interpretation: an exploratory investigation”, Faculty of Natural and Agricultural Science Department of Consumer Science University of Pretoria.

Grundberg, A. (1989). “Blaming a Medium for its Message”, New York Times, Arts and Lesisure Section August 6.

Maehashi, N. (2015). The Food Photography Book, Creator, https://www.recipetineats.com/the-food-photography-book/ (20.05.2018).

Manna, L. (2005). Digital Food Photography, Boston: Thomson Course Technology PTR. Odabasi, Y. (2006). Postmodern Marketing, 2nd Edition, Istanbul: MediaCat Publications.

Oygur, I. (2006). Examining the industrial designer-user relationship in the context of Turkey, Master Thesis, Istanbul Technical University.

Ozdogan, NO (2016). Trends in the Food and Beverage Industry 1st, 2nd (Ed.) Özdoğan, Ö. N., 2nd Edition, Ankara: Detay Publishing.

Parks-Whitfield, A. (2012). Food Styling & Photography for Dummies, New Jersey: John Wiley & Sons, Inc.

Puranik, A. (2016). “Overwiev on Food Photography”, Smart Photography August-2016. Rigel, N. (1993). Paper Tigers, 1st Edition, Istanbul: Der Publishing.

Rigel, N., Batuş, G., Yücedoğan, G. & Barış, B. (2005). Velvet Darkness, (Ed.) Rigel, N.,. 2nd Edition, Istanbul: Water Publications.

Yande, D. (2014). “Importance of Food Styling”, Smart Photography December.

Young, NS (2012). Food Photography: From Snapshots to Great Shots, Peachpit Press, Berkeley.

Young, NS (2016). Food Photography: From Snapshots to Great Shots, Second Edition. Peachpit Press, Berkeley.

 

As the head chef Ahmet ÖZDEMİR, I see the source:

Mr. Oğuzhan Tınmaz and Mr. I sincerely thank Hakan Yılmaz for his academic work titled "A Critical Look at Food Photography and Food Stylist- What is Food Stylist" and wish him success in his professional life. It will definitely be considered as an example by those who need it in professional Innovative Kitchens and the culinary community.