Delicatessen
Content SUKIYABASHI
Dining at Jiro Arriving at Sukiyabashi Jiro Dress code Enjoy our Omakaseteasling Menu Visiting Sukiyabashi Jiro again Payment For reservations Reservation Hours Eating Recipe
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PANTONE FOOD Food art pairings Pantone tarts by Emilie De Griottes Pantone food series by Lucy Litman
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FOOD MOVIE
Chef Julie & Julia No Reservation Ratatouille The hundred foot Journey Jiro dreams of Sushi Big night
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FAST FOOD
Chipotle Taco Bell Chik-Fil-A Pret A Manger Starbucks McDonald’s In-N-Out Burger Burger King Jimmy John’s Subway Quiznos Hardee’s
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SUKIYABASHI JIRO Dining at Jiro Sushi originated as casual food served at food stalls in the Edo era. Sushi chefs would brush “nikiri soy sauce” and “nitsume(or tsume) sauce” on top on the sushi they made and place them in front of customers. The customers would quickly eat the sushi with their hands, then drink some tea, wipe their hands on the noren curtain , and depart the food stall. Because of sushi’s roots, conversing during the meal and sharing sake together ,while fundamental to the origins of restaurants and pubs, is not customary to sushi houses. Sukiyabashi Jiro maintains the tradition of Edo-style sushi.
Arriving at Sukiyabashi Jiro Observe the reservation time, and try not to be late. Bcause we cook rice and prepare vinegared rice based on your reservation time, if you are late, you won’t be able to enjoy Sukiyabashi Jiro’s sushi to the fullest. The restaurant only has ten counter seats. Since we procure sea food daily from Tsukiji that complements the taste of sushi rice, we do not have snacks to serve with sake. Jiro’s recommended beverage is green tea. Please refrain from taking photos of the sushi. The only sure way of enjoying Jiro’s sushi is to concentrate on dining. When you leave , we would be pleased to take a commemorative photograph for you at the doorway if you wish.
Dress code
Sukiyabashi Jiro has no special dress code. Many guests wear jackets. We may, however, refuse service to customers wearing collarless shirts or shorts, or sandals. We ask our guests to refrain from wearing strong perfume. Please hand over your bag for safekeeping instead of slinging it over a chair.
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Enjoying Our Omakase Teasting Menu Right now, at Sukiyabashi Jiro we serve only the omakase tasting menu. Jiro Ono makes the sushi for all customers. The omakase tasting menu served at the counter is determined in the morning each day and served in order. It consists of about 20 sushi pieces. That is quite a large amount. However, Jiro Ono takes care to make each piece smaller for older woman customers. Please eat the sushi soon after it is placed on the plate in front of you. Its flavors are at their most exquisite when the sushi has just been prepared. Because “nikiri” soy sauce has already been brushed on the sushi, there is no need to dip it in a saucer of soy sauce.
For Reservations (only the main restaurant)
Visiting Sukiyabashi Jiro again
Payment
Dining at Sukiyabashi Jiro is not like visiting a tourist attraction. Different seasons bring different sushi. If you have enjoyed your experience at Sukiyabashi Jiro, be sure to come again. Each visit will bring new discoveries.
In the past, only cash was accepted, but now you can also pay by credit card. The cost of the omakase tasting menu is 30,000 yen plus tax for either lunch or dinner.
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For reservations, call: 03-3535-3600 (+81-3-3535-3600 from abroad) Neither reservations nor inquiries are accepted through letters and e-mails. At present, due to a large number of calls from customers to make a reservation, it may be difficult for your call to get through. Please be advised that reservations by telephone the main restraunt and roppongi branch each. We apologize for this inconvenience, and look forward to your continued patronage. Reservations are only accepted for up to four people per group. Reservations cannot be made at the restaurant, even if waiting in line to do so. Reservations for Sukiyabashi Jiro Honten (original store) can be made by the concierge of hotel.
Reservation hours 9:00 to 20:00 (only days on which the restaurant is open) Please be advised that calls may go unanswered during 6 peak hours. We again apologize for any inconvenience this may cause.
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5.Eat some shoga
Shoga (pickled ginger) cleanses your palate. But too much of it will burn your mouth. Eat a pinch to remove the aftertaste of fat.
6.Drink tea
7.Don’t dip sushi rice into soy sauce
To cleanse the palate of an aftertaste, Jiro Ono believes that drinking tea is best . Water is also available for guasts who consider tea too hot.
If you dip sushi rice in soy sauce, you will spoil its flavor.
Eating Recipe 1.Pick it up with your fingers
Because Jiro Ono makes sushi with an extremely light touch, it contains a lot of air. When it is placed on your plate, it lands softly. It is not easy to hold. Don’t pick it up by both ends. Gently lift it up so that it maintains its shape.
8.Sweet tsume sauce
You don’t need to add soy sauce to sushi already flavored with tsume sauce.
9.Don’t turn nigiri sushi upside down If you turn sushi upside down when eating it, your mouth will feel a strange sensation since the rice has a temperature different from your tongue.
2.Pick it up with your chopsticks If you wish to pick up the sushi placed on your tray with a pair of chopsticks, think of the sushi as a portable shrine. Place your chopsticks parallel to the tray as if they are the shrine’s carrying poles, and lift up the sushi by grasping it along its sides. If you grasp it through its middle with your chopsticks, it will surely fall apart.
10.Don’t separate the sushi topping
Pulling off the topping is the greatest insult to the sushi chef.
3.Avoid spilling the sushi topping
If you pick up a battleship roll sushi from above with your fingers, the sushi topping will fall out when you transport the sushi to your mouth, Instead, lift up the sushi gently by grasping its sides, and eat the entire sushi in one bite.
11.Don’t break sushi into two
A piece of sushi fits into your mouth. Its size is roughly 6 centimeters long.
4.Flavor it with soy sauce
If, by chance, the sushi chef has neglected to brush nikiri shoyu on your sushi, pick up a small amount of shoga (pickled ginger) to use as a substitute for the brush. Soak it in soy sauce, and then brush it across the top of the sushi topping. It is next to impossible to pick up sushi to dip into soy sauce. 10
12.Don’t let sushi sit
There is nothing more delicious than sushi that has just been placed on your plate. 11
Food Movie
Chef Chef Carl Casper (Jon Favreau) suddenly quits his job at a prominent Los Angeles restaurant after refusing to compromise his creative integrity for its controlling owner (Dustin Hoffman), he is left to figure out what’s next. Finding himself in Miami, he teams up with his ex-wife (Sofia Vergara), his friend (John Leguizamo) and his son to launch a food truck. Taking to the road, Chef Carl goes back to his roots to reignite his passion for the kitchen and zest for life and love. The three drive the food truck across the country back to Los Angeles, serving top-quality Cuban sandwiches and yuca fries. Percy finds ways to promote the food truck on social media websites, and the truck becomes successful in New Orleans and Austin, Texas, where the daily specials include items made with local ingredients such as po’ boys and barbecued brisket. Back in Los Angeles, Carl realizes the importance of his relationship with his son and accepts Percy’s enthusiastic offer to help out on weekends and holidays. Ramsey visits the truck to explain that he wrote the bad review as he knew Carl’s creativity did not suit a restaurant which had been serving the same menu for years. He leaves with an offer to bankroll a new restaurant. In a flash-forward set six months later, the new restaurant is a hit and closed for a private event: Carl and Inez remarry.
Directed by Jon Favreau 15
Julie & Julia In 2002, Julie Powell (Adams) is a young writer with an unpleasant job at the Lower Manhattan Development Corporation’s call center, where she answers telephone calls from victims of the September 11 attacks and members of the general public complaining about the LMDC’s controversial plans for rebuilding the World Trade Center. To do something she enjoys, she decides to cook every recipe in Mastering the Art of French Cooking (1961) by Julia Child (Streep) in one year; Powell decides to write a blog to motivate herself and document her progress. Woven into the story of Powell’s time in Queens in the early 2000s is the story of Child’s time in Paris throughout the 1950s, where she attends Le Cordon Bleu to learn French cooking and begins collaborating on a book about French cooking for American housewives. The plot highlights similarities in the women’s challenges. Both women receive much support from their husbands, except when Powell’s husband becomes fed up with her excessive devotion to her hobby and leaves her for a short time. Eventually, Powell’s blog is featured in a story published in The New York Times, after which her project begins to receive the attention of journalists, literary agents, publishers, and a dismissive response from Child herself. Although Child’s book is rejected by Houghton Mifflin, it is accepted and published by Alfred A. Knopf. The last scene shows Powell and her husband visiting Child’s kitchen at the Smithsonian Institution and Child in the same kitchen receiving a first print of her cookbook and celebrating the event with her husband.
Directed by Nora Ephron 17
No Reservation
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In Manhattan, the workaholic Kate is the chef of the 22 Bleecker Restaurant owned by Paula, who sent her to a therapist because she had no other interest in life but cooking and controlling her kitchen. When her only sister dies in a car accident, Kate becomes the guardian of her niece Zoe, who can not overcome the loss of her mother. Paula orders Kate to take a couple of days off to care of Zoe; when Kate returns to the work, she finds that Paula hired the subchef Nick without her approval. Nick explains that he is honored to work with Kate, but the jealous Kate does not trust him and believes he wants her position.
When Zoe gets close to Nick and invites him to have dinner with Kate and her, she changes her feelings for Nick. But when his work is recognized by the clients of the restaurant, Kate believes she committed a mistake.
Director: Scott Hicks
ratatouille
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The title refers to a French dish, “ratatouille”, which is served at the end of the film, and is also a play on words about the species of the main character. The film stars the voices of Patton Oswalt as Remy, an anthropomorphic rat who is interested in cooking; Lou Romano as Linguini, a young garbage boy who befriends Remy; Ian Holm as Skinner, the head chef of Auguste Gusteau’s restaurant; Janeane Garofalo as Colette, a rôtisseur at Gusteau’s restaurant; Peter O’Toole as Anton Ego, a restaurant critic; Brian Dennehy as Django, Remy’s father and leader of his clan; Peter Sohn as Emile, Remy’s older
brother; and Brad Garrett as Auguste Gusteau, a recently deceased chef. Development of Ratatouille began in 2000 when Pinkava wrote the original concepts of the film. In 2005, Bird was approached to direct the film and revise the story. Bird and some of the film’s crew members also visited Paris for inspiration. To create the food animation used in the film, the crew consulted chefs from both France and the United States. Bird also interned at Thomas Keller’s French Laundry restaurant, where Keller developed the confit byaldi, a dish used in the film.
The Hundred ratatouille Foot Journey
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TheManhattan, In title refers to the a workaholic French dish,Kate “ratais the chefwhich touille”, of theis22served Bleecker at the Restaurant end of Hassan’s cooking, which hason evolved owned the film,by and Paula, is also who a play sent her words to a into a mix of Indian cuisine and French therapist about thebecause species of shethe had main no other characincuisine, results in the Mallory’s restaurant terest ter. The in life film but stars cooking voices and controlling of Patton receiving second Michelin star. dies The her kitchen. Oswalt as its Remy, When anher anthropomorphic only sister award draws national attention to Hasin awho rat car accident, is interested Kate in becomes cooking; Lou the san’s cooking, and is who offered guardian Romano as of her Linguini, niecehe aZoe, young garbage canand not accepts job loss in Paris. Malovercome boy who abefriends the ofRemy; herPapa mother. Ianand Holm Paula as lory make seeing orders Skinner, Kate theamends to head takechef aand couple of begin Auguste of days Gusoff each other. to care teau’s of restaurant; Zoe; whenJaneane Kate returns Garofato the Hassan’s cooking in Paris rework, lo as Colette, she finds that a rôtisseur Paula hired at quickly Gusteau’s the subceives critical fueling chef Nick restaurant; without Peteracclaim, O’Toole her approval. as AntonspecEgo, Nick ulation of a third Michelin Star for with the explains a restaurant that he critic; is honored Brian Dennehy to work as Paris but his work is increasKate,restaurant, Django, butRemy’s the jealous father Kate and does leader notof trust his ingly bogged down by thoughts of his him and clan; Peter believes Sohn as heEmile, wants Remy’s her position. older
brother; When Zoe and getsBrad close Garrett to Nickas and Auguste invites him to have Gusteau, a recently dinner with deceased Kate and chef. her, family and Marguerite (with he she changes Development her of Ratatouille feelings for whom began Nick. But in had an ongoing romance). Hassan rewhenwhen 2000 his work Pinkava is recognized wrote the by original the cliturns home with Margueents of concepts the ofand restaurant, the reunites film. In 2005, Kate Bird believes was rite. He invitesto Marguerite joinand himrein she committed approached adirect mistake. thetofilm a business venture—buying a stake in vise the story. Bird and some of the Mallory’s restaurant, with operafilm’s crew membersalong also visited Paris tional control. To Hassan believes this aniwill for inspiration. create the food help theused restaurant earnthe its crew third constar. mation in the film, That Hassan andFrance Marguerite sultedevening, chefs from both and Director: Scott Hicks prepare dinner at Bird Mallory’s restaurant the United States. also interned at and bring the dishes across the road to Thomas Keller’s French Laundry restauthe courtyard of Maison Mumbai for all rant, where Keller developed the confit to enjoy. byaldi, a dish used in the film.
Jiro dreams of Sushi Jiro Ono, an 85-year-old sushi master and owner of Sukiyabashi Jiro, a Michelin three-star restaurant, on his continuing quest to perfect the art of sushi. Sukiyabashi Jiro is a 10-seat, sushi-only restaurant located in a Tokyo subway station. Jiro Ono serves a tasting menu of roughly 20 courses, for a total of 30,000 Japanese yen ($281 USD). The film also profiles Jiro’s two sons, both of whom are also sushi chefs. The younger son, Takashi, left Sukiyabashi Jiro to open a mirror image of his father’s restaurant in Roppongi Hills. The 50-year-old elder son, Yoshikazu, obliged to succeed his father, still works for Jiro and is faced with the prospect of one day taking over the flagship restaurant.
Production
Initially, Gelb had planned to do what he had nicknamed “Planet Sushi”, inspired by the cinematography of the BBC documentary Planet Earth Originally, I was going to make a film with a lot of different sushi chefs who all had different styles, but when I got to Jiro’s restaurant, I was not only amazed by how good the sushi was and how much greater it was than any other sushi restaurant I had ever been to, but I also found Jiro to be such a compelling character and such an interesting person. I was also fascinated by the story of his son, who is fifty years old, but still works for his father at the restaurant. So, I thought, “Here’s a story about a person living in his father’s shadow while his father is in a relentless pursuit of perfection.” It was the makings of a good feature film. Food critic Masuhiro Yamamoto connected Gelb with Jiro.] Principal photography took Gelb one month (January 2010), augmented by additional scenes shot later that year in August; editing took 10 months.
Release
Jiro Dreams of Sushi debuted in the US in 2011 at the Provincetown International Film Festival and was an official selection of the Tribeca Film Festival in the same year. The documentary was made available on Netflix streaming on August 28, 2012.
Box office
As of 2013, the film has grossed $2,552,478 in North America. It is ranked 70th of all US Documentaries on Box Office Mojo.
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Critical
The film received overwhelmingly positive reviews from critics. The film earned a rating of 99% on Rotten Tomatoes based on 88 reviews and an average rating of 7.8/10. The site’s critical consensus reads, “Beautiful, thoughtful, and engrossing, Jiro Dreams of Sushi should prove satisfying even for filmgoers who don’t care for the cuisine.” On Metacritic, the film has a score of 77 out of 100, based on 27 reviews, indicating “generally favorable reviews”. Roger Ebert called it a “portrait of tunnel vision” and concluded While watching it, I found myself drawn into the mystery of this man. Are there any unrealized wishes in his life? Secret diversions? Regrets? If you find an occupation you love and spend your entire life working at it, is that enough? Standing behind his counter, Jiro notices things. Some customers are left-handed, some right-handed. That helps determine where they are seated at his counter. As he serves a perfect piece of sushi, he observes it being eaten. He knows the history of that piece of seafood. He knows his staff has recently started massaging an octopus for 45 minutes and not half an hour, for example. Does he search a customer’s eyes for a signal that this change has been an improvement? Half an hour of massage was good enough to win three Michelin stars. You realize the tragedy of Jiro Ono’s life is that there are not, and will never be, four stars.
- directed by David Gelb.
Big Night Big Night is a 1996 American motion picture drama with comedic overtones directed by Campbell Scott and Stanley Tucci. Produced by David Kirkpatrick and Jonathan Filley for the Samuel Goldwyn Company, the film met with critical acclaim both in the United States and internationally. It was nominated for the “Grand Jury Prize” at the Sundance Film Festival and the “Grand Special Prize” at the Deauville Film Festival. Scott and Tucci won the New York Film Critics Circle Award and the Boston Society of Film Critics Award for Best New Director. Tucci and Joseph Tropiano won the Independent Spirit Award for Best First Screenplay. Tucci heads the cast, with Tony Shalhoub, Minnie Driverand Isabella Rossellini. On the New Jersey Shore in the 1950s, two Italian immigrant brothers from Abruzzo own and operate a restaurant called “Paradise.” One brother, Primo, is a brilliant, perfectionist chef who chafes under their few customers’ expectations of “Americanized” Italian food. Their uncle’s offer for them to return to Rome to help with his restaurant is growing in appeal to Primo. The younger brother, Secondo, is the restaurant manager, a man enamored of the possibilities presented by their new endeavor and life in America. Despite Secondo’s efforts and Primo’s magnificent food, their restaurant is failing. Secondo’s struggles as a businessman render him unable to commit to his girlfriend Phyllis, and he has recently been sleeping with Gabriella, the wife of a competitor. Her husband’s eponymous restaurant, “Pascal’s”, has succeeded despite (or perhaps due to) the mediocre, uninspired food served there. Desperate to keep Paradise afloat, Secondo asks Pascal for a loan. Pascal demurs, repeating a past offer for the brothers to work for him. This Secondo refuses to do; he and his brother want their own restaurant. In a seemingly generous gesture, Pascal insists that he will persuade popular Italian-American singer Louis Prima to dine at Paradise when in town, assuming the celebrity jazz singer’s patronage will revitalize the brothers’ business. Primo and Secondo plunge themselves into preparation for this “big night”, spending their entire savings on food and inviting people (including a newspaper reporter) to join them in a magnificent feast centered around a timpano, a complicated baked pasta dish. Primo pours his heart into every dish, lavishing care and great expertise on the cooking. 26
As they wait for Prima and his entourage to arrive, the diners indulge in the exquisite food and partake in a fabulous celebration. Hours pass, however, and it becomes apparent that the famous singer is not coming. Phyllis catches Secondo and Gabriella kissing and runs off to the beach. At Gabriella’s insistence, Pascal admits that he never called Louis Prima, thus ending the party. Secondo follows Phyllis to the beach where they have a final quarrel. Primo and Secondo have a fiery, heart-wrenching argument, chafing at their mutual differences. In the wee hours of the morning, Pascal admits to Secondo that he set the brothers up for failure; not as revenge for Secondo’s affair with Gabriella but because the brothers would have no choice but to return to Italy or work for Pascal. Secondo denies him, saying they will never work for him. As dawn breaks, Secondo silently cooks an omelette. When done, he divides it among three plates, giving one to Cristiano, their waiter, and eating one himself. Primo hesitantly enters, and Secondo hands him the last plate. They eat without speaking, and lay their arms across one another’s shoulders.
- directed by David Kirkpatrick and Jonathan Filley
Food Art Pairings
David Schwen
David had the idea of making individual Pantone chips out of household objects — sponges, cardboard, and so on. But while finishing off a poster design, he’d taped two Pantone chips together to see how they looked next to one another. “Instantly I thought of how people pair food together, and that was that. Pantone pairings. “Once I had the idea figured out, I spent time thinking up different pairings. It became pretty easy and was a lot of fun. I was creating a new pairing almost every day for about a month straight, setting
Food Art Pairings is a project by Minneapolis-based designer and illustrator David Schwen.
them up on a white background in my studio. “Obviously some were easier than others to photograph. Probably the hardest one to capture has also been the best seller: Milk & Cookies.” I asked David if he’d share how much he earned on the back of the project. “It’s not easy to put a finger on the amount, but it’s brought me a lot of attention. A lot of other projects have come about from people seeing it, and Instagram ran a feature on me and the project, which
brought a lot of followers to my profile. “That’s why I create these personal projects. Not only do I really enjoy them, but by constantly making content, you stay top-ofmind with the creative audience. It’s very important to stay relevant, with how fast things are created and forgotten about in this industry.” View more of David Schwen’s work on his website: www.dschwen.com.
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Pantone tarts by
emilie de griottes
french food designer emilie de griottes developed dessert tarts that recreate pantone colour swatches. berries, carrots, lemon, candies, and other foods are arranged upon a tart base, whose bottom is iced in white and marked with the pantone colour represented.
Pantone Food
Series by Lucy Litman
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Lucy Litman is a talented photographer and designer based in San Francisco. Lucy transforms all sorts of vibrant foods and ingredients with their respective Pantone swatches.
Pantone Food
Series by Lucy Litman
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Pantone Food
Series by Lucy Litman
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Lucy Litman is a talented photographer and designer based in San Francisco. Lucy transforms all sorts of vibrant foods and ingredients with their respective Pantone swatches.
Pantone Food
Series by Lucy Litman
37
Pantone Food
Series by Lucy Litman
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Pantone Food
Series by Lucy Litman
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Lucy Litman is a talented photographer and designer based in San Francisco. Lucy transforms all sorts of vibrant foods and ingredients with their respective Pantone swatches.
Pantone Food
Series by Lucy Litman
41
Pantone Food
Series by Lucy Litman
42
Lucy Litman is a talented photographer and designer based in San Francisco. Lucy transforms all sorts of vibrant foods and ingredients with their respective Pantone swatches.
Pantone Food
Series by Lucy Litman
43
Pantone Food
Series by Lucy Litman
44
Lucy Litman is a talented photographer and designer based in San Francisco. Lucy transforms all sorts of vibrant foods and ingredients with their respective Pantone swatches.
Pantone Food
Series by Lucy Litman
46
Lucy Litman is a talented photographer and designer based in San Francisco. Lucy transforms all sorts of vibrant foods and ingredients with their respective Pantone swatches.
Pantone Food
Series by Lucy Litman
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Pantone Food
Series by Lucy Litman
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Lucy Litman is a talented photographer and designer based in San Francisco. Lucy transforms all sorts of vibrant foods and ingredients with their respective Pantone swatches.
Pantone Food
Series by Lucy Litman
49
Pantone Food
Series by Lucy Litman
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Pantone Food
Series by Lucy Litman
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Lucy Litman is a talented photographer and designer based in San Francisco. Lucy transforms all sorts of vibrant foods and ingredients with their respective Pantone swatches.
Pantone Food
Series by Lucy Litman
53
Pantone Food
Series by Lucy Litman
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Lucy Litman is a talented photographer and designer based in San Francisco. Lucy transforms all sorts of vibrant foods and ingredients with their respective Pantone swatches.
Pantone Food
Series by Lucy Litman
55
Pantone Food
Series by Lucy Litman
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Lucy Litman is a talented photographer and designer based in San Francisco. Lucy transforms all sorts of vibrant foods and ingredients with their respective Pantone swatches.
Pantone Food
Series by Lucy Litman
57
Pantone Food
Series by Lucy Litman
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Pantone Food
Series by Lucy Litman
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Lucy Litman is a talented photographer and designer based in San Francisco. Lucy transforms all sorts of vibrant foods and ingredients with their respective Pantone swatches.
Pantone Food
Series by Lucy Litman
61
Pantone Food
Series by Lucy Litman
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Lucy Litman is a talented photographer and designer based in San Francisco. Lucy transforms all sorts of vibrant foods and ingredients with their respective Pantone swatches.
Pantone Food
Series by Lucy Litman
63
Pantone Food
Series by Lucy Litman
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Lucy Litman is a talented photographer and designer based in San Francisco. Lucy transforms all sorts of vibrant foods and ingredients with their respective Pantone swatches.
Pantone Food
Series by Lucy Litman
65
Pantone Food
Series by Lucy Litman
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Lucy Litman is a talented photographer and designer based in San Francisco. Lucy transforms all sorts of vibrant foods and ingredients with their respective Pantone swatches.
Pantone Food
Series by Lucy Litman
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Lucy Litman is a talented photographer and designer based in San Francisco. Lucy transforms all sorts of vibrant foods and ingredients with their respective Pantone swatches.
Pantone Food
Series by Lucy Litman
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Pantone Food
Series by Lucy Litman
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Lucy Litman is a talented photographer and designer based in San Francisco. Lucy transforms all sorts of vibrant foods and ingredients with their respective Pantone swatches.
Pantone Food
Series by Lucy Litman
71
Pantone Food
Series by Lucy Litman
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Lucy Litman is a talented photographer and designer based in San Francisco. Lucy transforms all sorts of vibrant foods and ingredients with their respective Pantone swatches.
Pantone Food
Series by Lucy Litman
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Pantone Food
Series by Lucy Litman
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Lucy Litman is a talented photographer and designer based in San Francisco. Lucy transforms all sorts of vibrant foods and ingredients with their respective Pantone swatches.
Pantone Food
Series by Lucy Litman
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How to Use
Almost Any
35 mm Film Camera
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PreParation
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Look for some basic controls on the camera. Not all cameras will have all of these, and some might not even have any of them, so don’t worry if you see something described that isn’t on your camera. We’ll be referring to these later in the article, so it’s a good idea to familiarise yourself with them now.
The shutter speed dial sets the shutter speed, i.e.
the time for which the film is exposed to light. More modern (1960s and onwards) cameras will show this in regular increments like 1/500, 1/250, 1/125, etc. Older cameras use weird and seemingly arbitrary values.
Shutter ! ! !
Check that a film isn’t already loaded. It’s an easy mistake to make:
Change your battery if your camera has one.
Nearly all batteries for every 35mm camera ever made can be obtained very cheaply, since they don’t use proprietary batteries like most digital cameras, and they last nearly forever; you can’t afford to notchange them.
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getting a hold of a camera, popping the back open, and finding a film already loaded. Try winding the camera on; push the shutter button first if it refuses to. If your camera has a rewind crank or knob on the left hand side, you will see it turning.
4
Load your film. Even though 35mm film cartridges are meant to be lightproof, it’s still a bad idea to do this in direct sunlight. Go indoors, or at least into the shade.
The aperture ring controls the aperture, which is a small opening near
the front of the lens. These are usually marked in standard increments, and nearly any lens will have settings of f/8 and f/11. The aperture ring is usually on the lens itself, but not always; some later (1980s and onwards) SLRs will allow this to be controlled from the camera itself, for example. Some systems (like Canon EOS) don’t have aperture rings at all.
Set the film speed. Usually, you should set it to the same as your film. Some cameras will consistently over- or under-expose by a certain amount; shoot a slide film to determine this experimentally.
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The ISO dial, which may be marked as ASA, tells the camera the speed of your film. This may not be a dial at all; it might be a series of button presses. Either way, this is necessary for cameras that have automatic exposure mechanisms, as different films will require a different exposure; ISO 50 film will require an exposure twice as long as an ISO 100 film, for example. 80
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4
Shoot till you hit the end of the roll.
You’ll know when you’re there when either the camera refuses to wind on (for those cameras with automatic winders), or otherwise when winding the film on becomes very difficult (if this is you, don’t force it). It won’t necessarily be when you’ve used up 24 or 36 exposures (or however
many you have on your film); some cameras will allow you to milk up to an extra 4 frames above the rated number. When you get there, you’ll need to rewind the film. Some motorised cameras do this automatically as soon as you hit the end of the roll; some other motorised ones will have a rewind switch.
ShootinG 1
Focus your shot.
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The artistic elements of composing a photograph is well outside the scope of this article.
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Get your film developed. If you’re shooting negative film then fortunately you can still get this done nearly anywhere. Slide film and traditional blackand-white film requires very different processes; check with a local camera store if you need help finding someone to develop your film for you.
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Check your film for exposure problems. Look for obvious under-
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Stick another roll of film in and go shoot some more.
We’ll detail this first because some old SLR cameras need their apertures stopped down in order to meter; this makes the viewfinder much darker, and makes it harder to see when you’re in focus or not.
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Frame your shot and shoot.
If you don’t, don’t worry. Press your rewind release button. Now turn your rewind crank in the direction indicated on the crank (usually clockwise). You’ll notice that near to the end of the film the crank gets stiffer, and then becomes very easy to turn. When you hit this, stop winding and open the back.
Set your exposure. Remember that older cameras have stupid meters; they only read a small area at the center of the screen. So if your subject is off-center, then point the camera at the subject, meter, and then reframe your shot. The specifics of getting a good exposure differ from camera to camera
and over-exposure. All films tend to look horrible and murky when underexposed; slide films will blow highlights nearly as readily as digital cameras when overexposed. If these things do not indicate poor technique (such as metering on the wrong part of your scene), it means that your meter is wrong or that your shutter is inaccurate. Set your ISO speed manually, as described earlier. For example, if you’re underexposing on ISO 400 film, set the ISO dial to 200 or so.
Practice makes perfect. Go out and take as many photos as you can afford to take. And don’t forget to show your results off to the world.
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Fast Food 12 Fast-Food Lunches That Are Actually Healthy
Fast Food Lunches That Are Actually “ Healthy ”
CHipotle For Chipotle it’s really, really hard finding things under 1,000 mg of sodium that also meet the other criteria listed above. That’s why one of these choices is over 1,000, unfortunately (and the other one is pretty close). The American Heart Association recommends that people eat no more than 1,500 mg of sodium a day, so if you choose one of these options, you’ll want to be a lot pickier with the rest of your meals that day. That’s especially important for people who have high blood pressure (too much sodium can exacerbate that). Burrito Bowl With Steak, Black Beans, Fajita Veggies, Fresh Tomato Salsa, Cheese, and Romaine Lettuce 460 calories 46 g protein 15.5 g fat (7 g saturated) 1,150 mg sodium 36 g carbohydrates (15 g fiber, 8 g sugar)
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Fast Food Lunches That Are Actually “ Healthy �
Taco Bell Taco Bell has some items that keep the serving sizes in check, but the thing you should watch out for is the sodium content. A lot of stuff on the menu unfortunately comes with over 1,000 milligrams of the stuff. The two items we chose below are both just barely under that limit.
Shredded Chicken Burrito 400 calories 16 g protein 18 g fat (4.5 g saturated, 0 g trans) 960 mg sodium 45 g carbohydrates (3 g fiber, 3 g sugar)
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Fast Food Lunches That Are Actually “ Healthy ”
Chik-Fil-A Chik-Fil-A’s sandwiches tend to have fairly normal serving sizes, and it’s pretty easy to stay below 500 calories if that’s what you care about. The thing to watch out for is sodium: All the salads (except for the 200-calorie Grilled Market Salad) come with over 1,000 mg. So if you’re looking for something a bit more filling, you will do better by ordering a chicken sandwich or wrap.
Grilled Chicken Cool Wrap 340 calories 36 g protein 13 g fat (5 g saturated, 0 g trans) 900 mg sodium 30 g carbohydrates (15 g fiber, 3 g sugar)
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Fast Food Lunches That Are Actually “ Healthy ”
Pret a Manger Pret’s salads are excellent, although if your goal is to stay under 500 calories you’ll have to go very easy on the dressing (or go with the lowest calorie version, the Tahini Yogurt). But if calories aren’t a huge concern, basically any of their salads are healthy and filling options. The new “power lunches” they’ve pulled together are also great and come with a LOT of great veggies and other healthy things. Re the turkey chilli below, 200 calories might not fill you up enough for lunch. In that case, the large is 340 calories with 32 whopping grams of protein. Just know that it also has more sugar, and 1,070 mg of sodium. Worth noting: Soups in general tend to be very high in sodium. Egg and Veggie Power Lunch (vegetarian) 420 calories 22 g protein 17 g fat (3.5 g saturated) 680 mg sodium 45 g carbohydrates (10 g fiber, 2 g sugar)
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Fast Food Lunches That Are Actually “ Healthy ”
Starbucks Starbucks has some excellent box options and some healthy wraps, both with meat and also vegetarian, if that’s what you’re looking for. Avoid the sugary coffee drinks and the bakery aisle, and stick with the stuff with cheese and eggs and veggies, and you’ll have a pretty easy time staying within the parameters mentioned above.
Edamame Hummus Wrap (vegetarian) 490 calories 12 g protein 27 g fat (5 g saturated) 970 mg sodium 47 g carbohydrates (6 g fiber, 6 g sugar)
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Fast Food Lunches That Are Actually “ Healthy ”
McDonald's The key here is to keep your orders small, and make sure not to order a side of fries or soda or apple pie to round out the meal. You won’t be getting any veggies here (beyond what’s on your sandwich), but you will be getting some protein, and keeping your serving sizes in check. Hey — you do what you gotta do. McDonald’s DOES offer a few salads that all come in under 500 calories, but the dressings that go with them bring the sodium totals up well above 1,000 milligrams. It’s really a personal call whether you’d rather eat more veggies and more sodium, or less veggies and less sodium when dining here.
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Artisan Grilled Chicken Sandwich 360 calories 32 g protein 6 g fat (1.5 g saturated, 0 g trans) 930 mg sodium 43 g carbohydrates (3 g fiber, 11 g sugars)
Fast Food Lunches That Are Actually “ Healthy ”
In-N-Out Burger In-N-Out Burger is pretty simple: You can choose from hamburger, cheeseburger, double-double, and all with or without a bun or a certain spread. “Protein style” is the burger with lettuce instead of a bun, and it lowers the carbohydrates pretty substantially. Here are two simple choices below, but there are a few more combos that work also. Just have water with your burger and pass up the fries and the shake to keep it under 500 calories and 1,000 mg of sodium.
Hamburger With Onion and Mustard and Ketchup 310 calories 16 g protein 10 g fat (4 g saturated, 0 g trans) 730 mg sodium 41 g carbohydrates (3 g fiber, 10 g sugar)
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Fast Food Lunches That Are Actually “ Healthy ”
Burger King Burger King has some items you can order that fit within the parameters listed above, without needing to make modifications. They even come with a good deal of protein! A few things to look out for: A lot of their burgers come with trans fats (and any amount of trans fats are not good). And the salads are pretty reasonable, although some of them come with a LOT of sodium. The one selected below comes in at 1,080 mg — higher than the 1,000 mg limit.
BK VEGGIE Burger (vegetarian) 390 calories 21 g protein 16 g fat (2.5 g saturated, 0 g trans) 900 mg sodium 44 g carbohydrates (5 g fiber, 9 g sugar)
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Fast Food Lunches That Are Actually “ Healthy ”
Jimmy John's When it comes to eating healthy at Jimmy John’s, you’ll have the best options when you customize the sandwich orders. Here are some sandwiches we came up with.
Big John (roast beef) Sub on French Bread, Without Mayo, With Lettuce, Tomato, Onions, Cucumbers, and Avocado Spread 378 calories 25 g protein 6 g fat (1 g saturated) 980 mg sodium 61 g carbohydrates (5 g fiber)
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Fast Food Lunches That Are Actually “ Healthy ”
Subway It’s easy to eat healthy at Subway as long as you customize your orders. That means choosing more veggies and less spreads, and forgoing cheese in some cases. Oh, and keep your sandwiches at 6 inches or under.
Six-inch Turkey Breast Sub on 9-Grain Wheat with Swiss Cheese, Banana Peppers, Cucumbers, Green Peppers, Lettuce, Spinach, Tomatoes, Avocado, and Vinegar dressing 390 calories 23 g protein 14 g fat (4 g saturated, 0 g trans) 720 mg sodium 49 g carbohydrates (8 g fiber, 7 g sugar)
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Fast Food Lunches That Are Actually “ Healthy ”
Quiznos If you have high blood pressure or are worried about your sodium intake, it’s going to be a bit difficult to eat healthy at Quiznos — there are very few options that come with less than 1,000 mg of sodium. The salads make good options, although if you order the large for any of them you’ll end up having to choose between going over 500 calories, over 20 grams of sugar, or over 1,000 milligrams of sodium. So deciding which salad is the best option for you is really a personal opinion.
Small Honey Bourbon Chicken Sub 360 calories 23 g protein 6 g fat (6 g saturated, 0 g trans) 1,000 mg sodium 51 g carbohydrates (2 g fiber, 13 g sugar)
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Fast Food Lunches That Are Actually “ Healthy ”
Hardee's Hardee’s has a menu with “better for you options,” which is a helpful way to figure out how to manage serving sizes when you’re eating there. Heads up, though: The “Veg’ It” Thickburger (basically the Thickburger sandwich without a meat patty) still has over 1,000 mg of sodium. It’s still a relatively low-calorie option compared to many other things, so we included it on this list.
1/4-Lb Low Carb Little Thickburger 220 calories 15 g protein 15 g fat (6 g saturated) 590 mg sodium 6 g carbohydrates (3 g fiber, 4 g sugar)
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