I’d been eyeing a chance to shoot a hotel food & beverage program since 2016—making dozens of proposals but never quite landing the work. So when Evelyn’s at The Hutton Hotel reached out earlier this year, I was simultaneously thrilled and skeptical. This time, it looked like things might finally click. A key factor: my friend Carly—whom I’d worked with at another restaurant—was now the GM. Having that trusted link made getting the ball rolling far easier than usual.
Breaking into the hotel world is no small feat. So I’m grateful for the opportunity—and proud of what our team achieved. Evelyn’s wanted new imagery to accompany a revamped seasonal menu. They had a rock-star chef on board, and they knew presentation mattered: visuals needed to align with the chef’s vision, not just the food’s flavor. To ensure that, we brought in a food stylist, Callie Blount, whose talent and attention to detail make her a natural fit.
In planning the shoot, we agreed the setting was just as important as the dishes. With fine dining, you’re not only showcasing beautifully plated food—you’re also telling a story of place. We wanted moodier lighting, a sense of atmosphere, and to hint at the surrounding environment of the restaurant. To assist with on-set lighting and gear management, we enlisted photo assistant Daniel Williams. We used a large (rolling-stand) light setup to keep things efficient and flexible.
From a shooting standpoint, I opted to shoot a little wider—giving spatial context rather than ultra-tight dish close-ups. That helps convey that yes, the food is amazing, but it’s being served in a stylish, compelling environment. The wider lens lets the restaurant space become part of the story.
Because Evelyn’s is an operational restaurant, we had to stay nimble. We did a half-day shoot: starting just after breakfast service, wrapping up ahead of the full lunch rush. Tight window. The food stylist was key to fast workflow: the chef would plate each dish, then Callie would step in to place micro-greens, sauces, and tweak arrangements—stuff that shifts if left unattended. That allowed the chef to return to his kitchen while we kept shooting.
At the end of the day, we captured 11 distinct dishes across four settings, produced 40 final deliverable images, and shot nearly 400 frames during the session. The results look strong. We brought in the right team, stayed focused, and came away with imagery suitable for marketing and advertising Evelyn’s.
For me personally, this shoot marked a growth moment—I walked away more confident you can effectively photograph fine dining in a hotel environment, with high levels of craft and excellence. If you manage a hotel food & beverage program and need fresh visual content, I’d be glad to help.
