What food photography equipment do you actually need? In the final food photography class of our Master in Gastronomic Journalism and Communication, photographer Alexandra Shytsman walked students through the kit she relies on every day: tripod, lenses, continuous light and flash. Here it is, organised, with her reasoning and two or three concrete options for each piece.
The point is not to buy everything. It is to understand what each item does, so you can decide where to start based on the pictures you want to make: in your kitchen, in a studio or at a restaurant table.
What is the essential equipment for food photography?
The short answer: a solid tripod with a horizontal column, a 50mm prime lens and a light source you can control. That covers most editorial assignments. Everything else (a 100mm lens, a strobe, a zoom) helps, but you do not need it on day one.
And one rule Alexandra keeps repeating: the lens matters more than the camera. Before upgrading your body, invest in glass.
1. A tripod with a horizontal column for overhead shots
A tripod keeps the camera still and, more importantly, gives you time to perfect the composition. You nudge a crumb, refold a napkin, and the frame stays exactly where it was. For food, look for a model with a horizontal column, so you can position the camera directly above the plate for overhead (flat lay) shots.
Her clearest advice of the session: do not buy a cheap tripod. One that wobbles or sags under the weight of a lens will cost you shots and patience.
- Manfrotto 055XPRO3: the studio classic, with a centre column that swings to 90°. Legs only.
- Vanguard Alta Pro 2+ 263AB 100: multi-angle column and ball head included; great value.
- K&F Concept with extendable arm: an entry option to start practising overhead shots.
2. The 50mm prime: the everyday workhorse
Alexandra shoots about 80% of her work with a 50mm prime lens. Primes have no zoom: they make you move, they let in more light and they are usually sharper than a zoom at the same price. Remember that the higher the number, the tighter (more “zoomed in”) the frame.
- Canon RF 50mm f/1.8 STM for Canon mirrorless.
- Sony FE 50mm f/1.8 for Sony mirrorless.
- Nikon Z 50mm f/1.8 S for Nikon Z.
3. A 100mm lens for side angles and details
The other 20% she shoots with a 100mm, kept for side-angle and portrait-style shots of a dish. The longer focal length compresses the background and isolates the subject, and a macro version lets you get close to texture: the crumb of a loaf, the gloss of a sauce.
4. What about zooms?
If you would rather carry one lens for everything, the most popular ranges are 28-70mm and 28-200mm. They are handy for travel and for reportage where you move from the plate to the dining room in seconds. A 35mm is not ideal for close-up food, but it shines on location: markets, kitchens, busy restaurants.
- Tamron 28-75mm f/2.8 Di III VXD G2
- Tamron 28-200mm f/2.8-5.6 Di III RXD
- Sigma 28-70mm f/2.8 DG DN Contemporary
- A 35mm for atmosphere: Sony FE 35mm f/1.8, Canon RF 35mm f/1.8 Macro or Nikon Z 35mm f/1.8 S.
5. How to photograph food in restaurants
Restaurants are the classic challenge: low light, small tables and no control over the setting. On a professional assignment, visit during the day and ask for a table by the window. For everything else, Alexandra always packs a small LED light panel to rescue dark tables.
- NEEWER NL-116AI: the one she uses. Bi-colour (3200K-5600K), slim and light.
- Ulanzi VL120 RGB: pocket-sized and rechargeable.
- SmallRig P96L RGB: tiny and magnetic.
6. Larger artificial light: softbox and strobe
At home or in a studio, her set-up is simple: a large softbox placed perpendicular to the scene, recreating soft side light from a window. The light can be continuous (what you see is what you get) or a flash, known as a strobe, which gives more power and freezes motion (a drizzle of oil, falling sugar).
Continuous light:
- Godox SL60II-Bi, Bowens mount for a large softbox.
- Godox SL100Bi, more output for darker rooms.
- NEEWER softbox kit, to start practising at home.
Strobes:
- Godox AD200Pro II
- Godox AD100Pro
- Godox V1 (also available for Canon and Nikon).
7. And the camera?
If you already own a camera, start with lenses. If you are upgrading, a full-frame mirrorless body gives you headroom in low light and better files: the Canon EOS R8, Sony Alpha 7 IV or Nikon Z5 II are all solid choices.
Editing is part of your kit too
Alexandra wrapped up with a live Lightroom demo and a line worth writing down: editing will rarely make a terrible photo great, but it will make a good photo even better. Well judged contrast, saturation and warmth (even on your phone) make the difference.
Conclusion: start with what you will use most
If you buy only two things, make them a serious tripod and a fast 50mm. With those, a window and a good eye, you can already tell stories through food. The rest will come once you know what you are missing.
If you want to learn to tell food stories in words and pictures, guided by professionals like Alexandra, explore the Master in Gastronomic Journalism and Communication or start with our online food photography course. More into writing? Read our guide on how to become a food critic.
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