ABOUT Magazine N4.eng

Editorial

Selecting the central theme for each issue of our magazine involves a delicate balance of contemplation and joy We strive to feature content that both inspires us and resonates with our readers. For this particular issue, there was no question in our minds that we wanted to pay homage to one of the most vital components of image creation: color. Whether we acknowledge it or not, color is an essential ingredient in every photograph, and delving deeper into its complexities can unlock a wealth of creative possibilities for artists. From a physiological standpoint, the human eye is capable of distinguishing up to ten million colors, providing a vast array of options right from the start. By factoring in the psychological and cultural influences surrounding color, we can expand upon this even further For instance, it's common knowledge that green hues can evoke a sense of peace and tranquility, while red is frequently featured in Hindu weddings because of its association with energy, vitality, and protection. Beyond this, color provides us with parameters that we can manipulate to achieve specific effects, such as saturation, tonality, temperature, and luminosity. These are valuable tools for photographers at every stage, from composition to image capture, and even in post-processing, using software such as Photoshop, Lightroom, or Capture One

So without further ado, we present to you the hero of this issue: color Let us draw back the curtains and allow the light to infuse our photographs with its vast and vibrant palette

The Power of Color

I n d e x

THE POWER OF Unleash Your Creativity! COLOR

Text by Pau Zambelli Photographs by Jullianne Medeiros, Laura Becerra Ortiz and Sylvie Pabion

Has it ever happened to you that three artists have created works especially for you? And that a specialist teaches you to read the secrets of color?

Well, it's happening. Right here. In this magazine. For you.

We created a fun and bold challenge so that you can learn a lot about the strategy of one of the most powerful phenomena in our life, art, and profession.

Colors constantly and inevitably influence us, generating sensations and emotions all the time Just as certain music generates nostalgia and other music activates us, color makes us travel through emotions, most of the time without us realizing it.

For this very reason, getting to know the expressiveness and strategy of color in depth is the best way to master the resource that not only determines the expressive climate of your photographs but also conditions how the viewer and client read and interpret your works Three great photographers made themselves available to take on a big challenge: to create three photos based on a prompt based on the use of color.

To make it more interesting, and because we are infinitely creative, I proposed to each one something that would take them out of their comfort zone. They put their creativity and knowledge at the service of the prompt, and that's how the three series that I am going to present to you were created while we discover the great power that colors have in the conceptualization, expressiveness, and reading of images.

Sylvie Pabion Martín's was tasked with playing with monochrome. A monochrome image is one that has only one color. This is a great challenge because the chosen color, being unique, determines the expressive climate of everything created. In turn, the need for certain variations in an image must be generated in this case from the diversity of shades (within the same color) and luminosity.

Her images could be the metaphor for the healthy and vital presence of nature in our lives, formed with a crescendo narrative, thus telling the story of an expansion

In the first photo, whose serenity recalls a Renaissance painting, a woman delicately presents some asparagus She could be any of us, linking us with nature and all that it offers The green color of the presented asparagus expands throughout the series, cementing the vegetables and fruits that appear in a beautiful way as the protagonists of the story

It is a story marked by serenity, as the green color is of a cool temperature and cool colors generate a sensation of calm in the retina

So, how is the sensation of expansion generated if the climate is rather serene? Beautiful question! If you observe the series, you will see that from the first to the third photo, the amount of vegetables and fruits increases, while they are arranged in a progressively more expansive way: from the asparagus in the hands, to the ordered and even concentrated presentation on the plate, to the display of fruits and vegetables throughout the table

The interesting thing is that this compositional characteristic would not work entirely if it were not accompanied and enhanced by the treatment of color

Look again at the series and observe how from the first to the third photo, there is an increasing presence of luminosity and saturation.

Luminosity is the degree of light or darkness of a tone The entire series has a dark background that orders and highlights the lighter elements. Clarity generates a sense of expansion, which is why you feel that the vegetables and fruits separate from the background and "approach" you, standing out and catching your attention.

The increase in luminosity is accompanied by a slight increase in the saturation of green tones. With saturation being the degree of purity of the color, in the second photo and much more in the third, the sensation of increasingly greater vibration is generated

The sensation of expansion generated perceptually is what creates the story conceptually

And a detail that we cannot fail to mention! Let's see if you had noticed it! Part of the possible richness in monochrome images lies in the variation of shades within the chosen color: from the first to the third photo, we observe a slight transition from green-cyan to green-yellowish tones The essential detail is the green-cyan tone of the ribbon that ties the asparagus, which stands out in relation to the other greens that tend to be warmer A detail that marks the beginning, crowned by the final display

This is how decisions about the use of color create expressiveness and concept. Everything that happens in the images is crucial, but if this is not well accompanied by the strategic use of colors, there is no way to express what is desired.

Laura Becerra Ortiz, had to play with adjacent colors. These colors are close in the color wheel, so their perceptual effect is one of continuity. What expressiveness can this perceptual quality generate?

Laura explored creative possibilities through compositions where the beautiful and playful forms of some eggplants stand out, playing to ascend to the sky, to be the hoop of a mysterious woman, to be eggs in some hidden nest.

She chose a wide range of adjacent colors, making the violet of the playful protagonists blend smoothly with the blue and cyan of the fabrics and the green of the background, feeling that everything fits, that everything is part of the same.

But then, how does the artist manage to repeatedly bring our attention where she wants it?

Of course, with light, but also, the secret for the eggplants to stand out lies in the fact that the violet is slightly warm Warm colors generate a sense of restlessness in the retina The slightly magenta violet of the eggplants thus draws attention among its cooler neighbors

Thus, the playful atmosphere generated by the photographer's creativity is enhanced by that touch of a slightly warmer tone in an environment where cool colors prevail.

This is combined, of course, with the punctual lighting that generates dynamism through its diagonals and, in turn, presents the protagonists connoting theatricality and mystery.

Jullianne Medeiros was tasked with playing with complementary colors. These colors are opposite each other on the color wheel, so their perceptual effect is one of contrast. What sensations and stories can this color quality generate?

We could create many possible stories based on the encounter between these three images that are as surreal as they are everyday. With multiple interpretations, what is clear is that this series combines creativity with vitality

In this challenge, it is the contrast between yellow and blue that determines our experience Tonal contrast implies a contrast of temperature, and when this happens, we feel the presence of very different sensations that correspond to the difference between warm and cool colors.

Another fundamental aspect is that when there is a temperature contrast, it is the warm color that directs us

The effect of lemon, whether we like it or not, is invigorating. The interesting thing is that its color, yellow, has the same effect since it awakens our retina, being warm and luminous

That is why we feel so much vitality in this series, while we cannot stop looking at everything that is yellow, which stands out against the cool blue background, much calmer and which, if we talk about spatial color effects, optically recedes in relation to yellow, both for being cool and dark

The central photograph leads us to explore each element, being able to enjoy some variation of tones, some a little more orange, thus differentiating the various yellow elements.

On that table, everything that is developed in the lateral images is arranged, both the protagonist lemons and the mysterious being on the left, who with their action is imbued with vitality

Three great photographers exploring the possibilities of color

Infinite play with an infinite resource. And above all, power. The power to convey the sensations, emotions, and stories that we want

I hope this journey has inspired you, and I bid you farewell, asking you to play like when you were a child, without fear, because our creativity combined with the right resources and strategies are the gateway to feel all the power that we came to unfold in this world.

The color is in your hands!

S p e c i a l G u e s t

Pau ZAMBELLI

T H E P O W E R O F A R T

Pau Zambelli is a treasure trove of expansive, creative, and colorful ideas. Speaking with her fills you with warmth, inspiration, a desire to create, to inquire and investigate, and to immerse yourself in a world that goes beyond art to delve into the essence of who we are, what we want to be, and to encourage us to create from that place.

Interview and photographs by Laura Becerra Ortiz

Her story began when she was seven years old, returning from a vacation at the beach: "We were in the car about to leave the house where we were staying with my family when the owner came after us and said, 'Wait, the girl forgot something ' We always vacationed in Villa Gesell (Buenos Aires, Argentina), and in its little forest, I created a world of my own. I put my toys, my notebooks, my things there... and what I did as a child speaks of what I am passionate about doing today: creating worlds I do it for myself and I accompany other people so they can do the same in a free, authentic, and powerful way. I always liked visual arts and music From a very young age, I studied visual arts, drawing, painting, sculpture, masks, puppets, and that's how I started learning about visual resources and color in composition ”

Composition as an element of any art, not just photography.

Yes, because it is something that cuts across all of these areas I mentioned While I created from those places, I was fascinated by watching movies and photographs and analyzing them. I saw dance, theater, and I liked to relate all of that to music, my dad and I did that a lot From a young age, if someone asked me what I wanted to be when I grew up, I thought: "I want to set up a table and two chairs on the corner of a street with a sign that says 'gift ideas' " I always loved creating"

Then that turned into a career and you studied Art History...

Yes, I entered as a visual creator and before I started, something happened that changed my life I used to go see art all the time, but one day I went into a gallery and came out transformed, overwhelmed by a work that was making me ask questions I had never asked myself before. Something very strong was happening to me,

everything was pounding, I had to sit down because I was feeling dizzy With the passing of the minutes, I realized that what was happening to me was not so much because of the work itself, but because of what I had experienced with it It was the power of art. At that moment, I said to myself, "How can this be? How did this artist manage to transform me like this?" Finally, after a while, I realized that what had touched me so deeply was contemporary art I hadn't started my degree yet, but I already knew that this was what I was passionate about and wanted to learn and transmit. At 18 years old, I realized that art is not a decorative tool but something super powerful, of persuasion And when I talk about art, I'm talking about all the resources that make it up, which we can apply to many things, like marketing, for example

It's interesting what you're suggesting because it leads us to think that we're constantly exposed to images that send us messages that we don't even notice

That's the point. And that's my passion. What you mention is the moment when we realize the power we have as creators, that many people live life very automatically and with a sense that we can do very little in this world but it's not true. I saw it from art and then as a teacher: when we are educated, we are not told about that power, but it is hidden, weakened So most people who are trained to create visually learn tools but don't connect with who they are, with what they want to convey, with that power I ask all the people who read us: Who do you want to be? What do you want to do most of your days? How do you want to inspire others? What do you want to give to the world to make it a little more like the one you desire? Those are the questions we have to ask ourselves and turn the answers into actions.

What I offer are transformative resources and experiences that lead to seeing the strategic and powerful potential of art.

ON FOOD PHOTOGRAPHY

When someone mentions food photography to me, something inside me lights up and I feel like talking about all the possibilities that these images offer depending on what is needed and sought in each case. I don't like formulas I like to talk, analyze, share, and apply all the resources to put them into play in each image that is made within this universe There can be very different intentions and needs and in each case, each artist must open that box of knowledge, sensitivity, and experience to combine them with what a client needs I always believe that the most important thing is the power as creators, not doing things automatically, not always repeating the same thing or formulas from others

It's a very different perspective from what we're used to, seeing things from the act of doing itself, with a specific result, but not what leads us to do them, what imprint they leave, or why we do them

Getting to those questions is not easy but for me it's key and that's where a concept is born, which is expansive connection: I believe that the most important thing is to be able to connect with that unique and particular universe that we are, with our power, with everything that we want to be and do and then expand it. But always from the truth of who we are because if it's not free, the connection is not authentic The sun expands with such force because its core is super powerful and its rays generate expansion in everything else When someone expands in an authentic way, they not only live a more pleasant life, but they begin to make others expand I like to call it 360-degree expansion or total expansion It starts with me or with you and opens up in layers, and so it can imagine a world that is a little more sensitive, authentic, and where we live better, because that's what it's all about.

THE POWER OF COLOR

Pau is known for her relationship with the world of color that she teaches in a very experiential and different way from what is usually found: "When I was ten years old, I witnessed how twenty people chose a product because it was more sophisticated, when the only difference from another was the color of the packaging. That day I became aware of the power of color and its influence, which constantly generates sensations and emotions in us. That's how my great passion was born: that people understand the strategic and expressive power of color and apply it in their art, profession, and daily life.

@pau zambelli

Pau joins About Magazine in this issue to analyze gastronomic photography from all these perspectives and help us understand how and why we do what we do when we take photographs We are happy to have her on the team and all her knowledge

"I like to remember, to pass through the heart again, that we are here to be authentic."

...my great passion was born: that people understand the strategic and expressive power of color and apply it in their art, profession, and daily life.

PAU ZAMBELLI

PAU IN ACTION DELIVERING THEIR WORKSHOPS

Photograph by Gonzalo Angueira

Photograph by Tamara Apipet

Photograph by Tamara Apipet

Photograph by Christian Jamin

Photograph by Gonzalo Angueira

Bea LUBAS

Hello Bea, let’s start with an easy question, to help our readers get to know you better, Could you give us a little presentation of who you are and what you do?Thank you so much

Thank you so much for having me in your magazine I am so honoured!

My name is Bea Lubas, I am a Polish-born, England-based food photographer and author of How To Photograph Food.

I love digging deeper into the topic of food photography and sharing my knowledge with others, often in the form of online tutorials, 'tips, tricks and techniques' type of content, speaking events, and workshops

We know and admire your wonderful work. Getting into your Instagram profile is like taking a walk through a beautiful and big garden, how do you manage to have that consistency that it’s so hard to achieve?

It truly means the world to me Thank you And it's so great to hear that you see a consistent style throughout my work.

Interestingly, I've never really paid much attention to 'being consistent' Over the years I loved experimenting with different types of moods, composition and editing, yet my work still looked consistent. Isn't it fascinating? I think that our style is rooted in us deeper than we think and

She has a great talent for capturing the beauty and freshness of dishes. Her harmonious compositions, vibrant colors, and attention to detail in texture manage to highlight the best of each food, capturing the viewer's attention and arousing their appetite. Discover her secrets!"

it's made up of many, often unconscious decisions that we make when we create From what catches our attention, how we see the scene, to the way we frame the subject

A photograph is like a mirror, it is a reflection of a photographer Of our taste Of our influences Of how we see Of what's important to us

I think that digging deeper inside of our creative soul, trying to better understand ourselves, our taste, our personality, why we create and what we enjoy creating the most is not only rewarding, but it's what also help us uncover and understand our personal and unique style better. It's what helped me create from a place 'this feels like me'

Talking about color, as an editing expert, how do you usually work with intensity and saturation in the color panel? Any advice you can give us about these two parameters?

There are many different ways we can use the Color Mix Panel in Lightroom and how I edit the colors using Hue, Saturation and Luminance sliders in this panel depends on the photograph I am working with, the type of food shown in the photograph, as well as what mood I want to create and what story I want to tell

A Hue slider allows us to alter the colour we see, for example we can shift orange colour more to the yellow side or more to the red side

Interview by Sylvie Pabion and photographs by Bea Lubas

... any time I want a specific colour in my food images to look deeper, I will move the Luminance slider to the left side to make that colour a little bit darker.

LUBAS

BEA

This really helps us to fine tune the colours to make sure they look as delicious as the recipe is

Often when we are targeting and fine tuning a specific colour we need to shift more than one Hue For example when adjusting the colour of various salad leaves, we might want to tweak the green and the yellow Hue slider to get the colour we are most satisfied with

Saturation slider controls the intensity of the colour and we can make any colour more or less intense A lot of the time, I reduce the Saturation of a specific colour, just a little bit.

Saturation slider is also a powerful tool to help us draw attention to certain elements in our compositions

Rich colours catch our attention faster than the less saturated ones. I often use this technique to make my subject stand out more I make sure the main subject has a beautiful, eye-catching (but still natural) colour, then I will desaturate the background and other elements in the frame (more or less depending on the image) - this helps to make the subject stand out even more

Luminance slider is one of my favourite tools in Lightroom It allows us to make a specific color brighter or darker When I'm editing darker images, for example a close up of red currants photographed on a dark background, I will add brightness to my ingredient with the use of Luminance slider This will increase the contrast in a photograph and make the subject stand out even more.

On the other hand, any time I want a specific colour in my food images to look deeper, I will move the Luminance slider to the left side to make that colour a little bit darker

Imagine that Instagram changes the rules of the game and ask us to upload only monochrome photos, what color would you choose for your profile and why?

I'd probably go for brown! It is such a warm, cozy and comforting colour! I find it so calming and soothing.

My passion for brown is influenced by some of my favourite places to visit here in England I associate brown with the beautiful vintage charm that makes my soul so happy.

Some of my favourite backgrounds and ceramics are brown too, so that would give me a perfect

excuse to use them all the time!

I also feel that there are so many beautiful and delicious brown food options, that I would probably never run out of ideas on what to photograph and share next!

- When you face a new job, what weight does the theme of color have in your process? Do you give it priority over other aspects such as composition or light, or are they all equally important to you?

That's such a great question I think that the strongest food images are when colour, light, composition, food subject and food styling all come together I think of colour a lot during my photography process. In food photography, colour is an important visual element. It sets the expectations on what the recipe will taste like, and help us identify the flavour, freshness and the quality of the ingredients, so it's important for me to make sure the colour of the food look right. But colour is also a powerful storytelling tool, and I like to use it intentionally in my work

A lot of the time, when working on a client assignment, the colours for the projects are selected by the art director, and are added to the creative brief

On assignments when I do art direction or on my personal projects I will think of a story I want to tell about the recipe and what colours and colour pairings would help to tell this story. The story can focus on the season during which we would enjoy that recipe, or a specific occasions The story can also focus on a flavour of the recipe or ingredient, and how this flavour can be highlighted with the choice of colour. For example, if I was photographing panna cotta, which has a delicate, creamy flavour and soft texture, I would choose delicate, low contrast colour palette for my photograph.

There are also occasions when the colour becomes a starting point for my photograph Sometimes I come across a beautiful colour palette that stirs something inside of my soul and use this colour palette as an inspiration for the photoshoot It can be during a day trip to a different city, when visiting a new restaurant, or even when browsing online. I will think about how I could use this colour pairing in food photos, what recipe it would work well with and my food story starts from here

Any reference photographer that you consider a master in color management?

I am forever inspired by the way Rachel Korinek, Eva Kosmas Flores, Costas Millas use colour in their photography, and how Roberta Dallalba works with brown color palettes so beautifully

Three things to improve one’s photography from good to great.

I was just reflecting on this recently It was about 10 years ago when I got my first camera and started taking pictures of food, and when earlier this year I was looking back on my photography journey, I thought about the few things that helped me improve my photography the most

One of those things has been intentionally practicing my skill of observation Learning to be present, noticing details I've never noticed before, paying attention to 'small' and magical' moments, trying to find something extraordinary in 'ordinary' - all these exercises helped me sharpen my photographic eye. 10 years later, seeing the world in richer details, while being more present, is what I appreciate photography for the most

I've also been finding it very beneficial to take the regular time for reflection Looking at my work and asking myself what worked well and what I could possibly improve for the next time (while always being kind to myself) helped me learn what details to pay attention to, and helped me stay curious to learn more.

Working with other creatives has also had a huge and positive impact on my skills, creativity and my photography We all see and create differently and creating with other artists gives us a beautiful opportunity to look at things from a different perspective and with fresh eyes Seeing how other people create is truly a magical and creatively enriching experience! @bealubas

Costas MILLAS

Costas, for those who don't know you yet, please introduce yourself, who is Costas Millas?

Tell us about your relationship with photography in general and with culinary photography.

Thank you so much for inviting me to part of ABOUT magazine I am currently a graphic designer and art director which I have been for the last 16 years alongside my food photography, styling and recipe development which I’ve been doing since 2017. I am pretty much self-taught as a photographer (apart from few modules of photography during my years at college) and embraced creating with food when I moved into my own house and started to really enjoy cooking for myself, learning about recipes and discovering a world of food creativity on Instagram I started purely with my iPhone, creating my own food dedicated Instagram account, Made By Mr Millas, and I just enjoyed experimenting with colour, light, different types of food before eventually stepping up to a camera which I use now.

We would like to highlight his art when it comes to creating monochromatic photographs.

He manages to turn everyday images into works of art, the idea of sharing a single color gives his compositions a clean, soft, and elegant design while still captivating the viewer's attention

In a world full of colors, what are the reasons why you choose a monochromatic color scheme?

It depends on the mood I want to create as colour is always one of the first elements I consider when working on a new image or story concept. Monochrome is a great scheme to consider when I want to capture a particular flavour, showcase a specific ingredient, evoke a season in the year etc. To use my recent ‘Blonde’ story as an example, this was a series of images I created after I had the idea to develop a recipe using caramelised white, or blonde, chocolate. The beautiful tone of the chocolate started off the process and its biscuit toned flavour led me to progress the recipe to create a custard cream cheesecake. The story was centered around all the cream, blonde and yellow tones in the ingredients which I then used to expand into the visual narrative of all the images in the series.

Interview by Marta Sarrate

Photographs by Costas Millas

Photography of course has an objective part, the technique is very important, but it also has a subjective part. Please tell us about the creative and artistic process of your monochromatic photos Where do ideas come from and how do you combine them to give a personal sense, a new perspective, and a dimension to each of these creations?

Wow, this is a big question! I don’t really have a specific process for my monochromatic photos versus ones that use more than one colour Nearly everything starts in my head after being inspired by an ingredient, a recipe idea or something I’ve seen like a piece of art or maybe another photograph. I will then start to put an idea together, seeing it with my mind’s eye before I start anything tangible I love to mentally scan my props collection or how I might style a dish to almost in a way inspire myself to start to physically create For a larger project like Blonde, I will create a mood or art direction board I will often create an album in my Instagram and save images that could inspire a story there for reference This could be an interesting composition, a styling colour palette that aligns to my idea, delicious ways to capture the type of food I will be styling (in this case a cake) and so on, so I can build up a visual narrative that is deeper than that I’ve begun concocting in my mind! Once an idea is set, I will physically start to get out props, create a palette, think about the whole process of the recipe and the steps I’d like to capture and what props might be needed to tell that part of the story I think about crops, angles, formats etc. and what shot would work best in which way. I might make some notes about this, a rough shot count etc to make sure I am not forgetting something

What’s so beautiful and inspiring about being a creative is I could tell my idea to hundreds of other photographers and each one would interpret it and create something different without doubt Each of us has their own unique sense and way of doing things and creating their images which is amazing to me And I am always honoured and humbled when people like what I do

Colors generate emotional reactions; how do you manage to catch attention and direct the viewer's gaze by using a single color in your compositions? How do you achieve a visually attractive image?

They absolute do Colour is so integral to allowing you to create a mood, tell a story, instill an emotion in your viewer This is a hard one to answer simply and I think some of my previous answer ties into this as it comes down a lot to an individual’s personal style

However, having your idea locked down and clear to yourself and creating something that feels uniquely yours will be visually attractive I personally don’t try and follow strict composition rules as I like to be freer and use my creative eye to get a sense of what feels right. But I always pay attention to the light and how it interacts with my subject and let the two work together to find the best way to present my idea As there is no point arranging the key part of your image in the darkest part of the light! You want that to be illuminated, even in a dark and moody shot, so your viewer has no doubt what you want them to see And editing, which we will come onto also, is a huge part of my process to create to a visually attractive image

Regarding color and editing, can you give us some advice?

I use Lightroom to edit my photos which is wonderful for colour editing. I always pay close attention to the colour separation editing tools in all my photos to really define the white balance and create the right mood For example, the images in my Blonde story were intentionally edited to have a warmer white balance, to emphasise the cream tones, the custard yellows and the rich golden blonde hues I wanted the whole thing to feel rich and indulgent so made sure I paid close attention to the yellows and oranges in particular, but also offset these by being aware of managing the colder tones too so dialling down and blues for example As even in a monochromatic image, whites and greys can go bluer if they aren’t given enough attention in the edit I always love editing as it really lets you put your own special finishing touch into your images If anyone reading isn’t confident with their editing, I’d recommend practicing and checking out all the tutorials (including some from me!) and all the resources available for free within the Lightroom program and app

“COLOUR IS SO INTEGRAL TO ALLOWING YOU TO CREATE A MOOD, TELL A STORY, INSTILL AN EMOTION IN YOUR VIEWER"

How do you create contrast in your photographs by choosing a monochromatic color scheme?

Lighting, props, editing for sure As mentioned above, knowing your light and the mood you want to create is so important and knowing how it will affect your subject is imperative to create a great image Props are also important to help tell a monochrome story And that doesn’t mean you need to have hundreds of props in every colour but using tonal, whites, greys etc cleverly with your key, coloured ones and editing them well will bring everything together.

I can't end this interview without asking you, Costas, what is your favorite color? Do you have any childhood memory associated with a certain color?

Completely not associated with my Blonde story, but I do love yellow, especially a warm, mustard shade of yellow! But I do love colour overall so it’s hard to choose Childhood memory associations less so although I did always think my favourite colour was red as a child but not sure why! I think all colours are great in different contexts For example, I would never choose the colour pink to wear on a piece of clothing but to use in a food photograph, I love it!

Alicja SIERONSKI

In this issue we couldn’t leave out an article on color theory and there is nobody better to write it than Alicja Sieronski. For those that don’t know her yet Alicja is a food photographer and culinary stylist based in the United Kingdom. She is a very creative woman and an expert not only in the art of composition but also in the use of color combinations. Her photographs are full of strength, energy and magic. To brighten your day visit her website and feast your eyes on an array of luxurious and colorful images. www.alicjasieronski.com

Photographs and text by Alicja Sieronski

B A S I C S O F C O L O R T H E O R Y

Colour theory is a fundamental concept in the world of art and design. It is a set of principles that help artists and designers understand the use of colours and their relationships to one another and it is key to creating captivating food photography

By grasping the colour wheel, the foundation of colour theory, with its primary, secondary, and tertiary hues, warm and cool tones, analogous and complementary shades and by applying the principles of colour theory to our food photography, we can enhance the visual appeal of our photos and create stunning, eye-catching images

The primary colours, red, blue, and yellow, are the building blocks of all other hues Secondary colours, green, orange, and purple, are created by mixing two primary colours Tertiary colours are created by mixing a primary and a secondary colour. And then there is everything in between: Tints are mixtures of colours with white, a shade is a mixture with black Both processes affect the resulting colour's saturation A tone is produced by mixing with gray Browns for example are hues of yellow, orange or red in combination with low luminance or saturation

In food photography, colours play an essential role in creating the desired mood and evoke emotions in the viewer Colours can be classified as warm or cool, based on their associations with different emotions and sensations Therefore, the careful selection and use of warm and cool colours in food photography can affect the viewer's emotional response and perception of the food, and is essential when selecting a colour palette

Our colour choices are not restricted to the food itself, they extend to the selection of props, backdrops and even the temperature of light and colour grading in post-production. However, it's not only the choice of colour that matters but also how the colours interact with each other The real magic lies in the way colours work together to create a harmonious, interesting and beautiful composition By using the principles of colour theory, we can create different colour combinations for our colour schemes

Analogous colours are colours that are adjacent to each other on the colour wheel. They have a natural harmony and are often found in nature For example, yellow, yellow-green, and green are analogous colours They are often used to create a cohesive colour palette.

Complementary colours are colours that are opposite each other on the colour wheel They can create a high-contrast image that is visually arresting. For example, red and green are complementary colours A monochromatic colour scheme is created by using different shades and tints of the same colour.

Personally, I enjoy experimenting with advanced colour theory as a way to create successful colour combinations, by using split-complementary, diad and triadic colour schemes These schemes are variations of complementary colours, which are opposite each other on the colour wheel.

Probably my favourite is splitcomplementary, which involves using one base colour and two colours that are adjacent to its complementary colour

For example, if the base colour is orange, the complementary colour is blue, so the split complementary colours would be teal, and purple and all their shades and tints and tones This creates a balanced yet dynamic colour scheme that can make an image pop

Diad and triadic colour schemes are also great for creating visually striking images Diad colours are two colours that are one space apart on the colour wheel, such as orange and purple, a personal favourite Triad colours, on the other hand, are three colours that are evenly spaced around the colour wheel, such as green, orange and violet.

Another way to make unexpected colour combinations work is to use warm and cool colours together.

Warm colours, like red, orange, and yellow, are energising and attention-grabbing, while cool colours, like blue, green, and purple, are fresh and calming Using warm and cool colours together can create a dynamic and visually interesting composition

Colour repetition is another powerful tool that I love using By repeating a specific colour throughout the image, I can create a sense of unity and cohesiveness. This technique works especially well when the repeated colour is used in lots of different shades and tints throughout the image

Playing with the power and saturation of colours can also create a unique look in your food photos Desaturating certain colours can create a muted or vintage effect, increasing the saturation works for a bold and vibrant look.

Colour grading is another technique that I use to enhance and add colour to my photos By adjusting the colour temperature, tint, saturation, and brightness in an image, I can create a unique and personalised look that enhances the overall feel of the image

I'm always observing my surroundings and love to seek inspiration for colour palettes from a variety of sources Nature for me is always a favourite, as the colours found here can be incredibly rich and varied. From the deep greens of forest foliage to the beautiful hues of a sunset, nature provides endless inspiration for colour palettes and combinations

Other favourites are art, interiors and travel, but even my own memories and experiences and everyday objects like book covers, pieces of clothing or my kids drawings can be used as inspiration More often than not I get inspired by produce itself and find that a trip to the farmers market or my favourite green grocer can get my creative juices flowing instantly. In addition, I find that produce that is in season together, locks good together too

I have been known to sometimes produce images overflowing with rich colours The secret here is to find a hue in a more neutral tone or tint that binds all the other colours together and provides a sense of balance and harmony to the composition and grounds the image. I often paint a backdrop myself especially for this purpose

The key to making unexpected colour combinations work is to experiment and trust in our instincts By keeping colour theory in mind and experimenting with different approaches, we can create vibrant and unconventional images that stand out from the crowd.

https://alicjasieronski

com/ @twinsinmykitchen

The watercolor color wheel created by Chiara Iobbi @pesciolino crafts

food photography POP POP

In today's fast-paced world, advertising has only a few seconds to catch our attention. With the rise of social media and the internet, we are bombarded with images constantly, causing us to shift our attention from one image to the next without taking the time to absorb them. Gastronomic advertising photography has had to adapt to this new reality, and one of the trends that has emerged is the use of bright or "pop" colors. This is known as "pop food photography," and it is widely used in the advertising and editorial worlds to showcase products in a striking way.

Text and photographs by Mónica Molina

"Pop food photography" is characterized by clean images with little distraction, where color and shape play a significant role in creating a graphic image The composition, angles, saturated colors, and pattern repetitions are used to create dynamic images that grab our attention.

Whether there are few or many elements in the photograph, a strong storytelling element is present

Light: Although it does not always happen, it is usually a hard, contrasted, strong light. The shadows are so important that they become another element of the composition.

Graphic design: the predominance of lines, figures, and the repetition of motifs and colors is very important in this type of photography

Color: in this type of image, a not very wide palette is usually used, about 3 or 4 main colors. We can also find monochromatic images. The use of few colors makes the scene look more orderly.

This type of photography has been a great trend in recent years and continues to gain popularity

If you are looking for photos that capture attention, this is one of the paths to follow.

Color directly influences the soul. Color is the keyboard, the eyes are the hammers, the soul is the piano with many strings. The artist is the hand that plays, touching one key or another purposively, to cause vibrations in the soul.

WASSILY KANDINSKY

Painter of Russian origin and one of the initiators of abstract art of the 20th century

y EspacioCRUDO

D E S I G N S T U D I O

In their photographs and videos they show us a very particular vision of a world full of colors in which they move like fish in water The final result of their work is impressive both for its powerful visual aesthetics and for the way they present the product

They leave no one indifferent, they always go one step further. And that's what it's all about, in a world full of visual stimuli, capture your attention, make you stop to see, and not just look

The team is formed by Paola, Art Director, Natalia, Stylist and Andrés, Photographer , the perfect trio

Interview by Mónica Molina

Photographs by Espacio Crudo

Espacio Crudo is a concept creation studio

Introduce yourselves a little bit, how did you find each other, how did you decide to start working together, what has been your trajectory?

One day, a friend in common between Paola and Natalia decided it was a good idea to bring them together on a work blind date, she put them in a whatsapp group, introduced them and they went out It was decided that the meeting would be in a Starbucks, they talked a little, saw that they had common goals (to combat the monotony of everyday life) and decided that same weekend to start taking pictures without any economic pretension, just "do something nice"

But they needed a piece of equipment, someone to take the pictures. That's when Andres appeared. That weekend we took our first photographs: some fruit and vegetable patterns. We met at the "Paloquemao" market square and decided to classify all the food by color.

We immediately noticed that there was a synergy between us and that above all, we had a great time taking these pictures.

We started uploading these photographs to platforms like Behance and Instagram, one day they wrote us about a festival called LadFest in Peru, we didn't think about it for a second and decided to go and show our photographs in front of an auditorium of 800 people in Lima

Since then, we have worked together in many projects not only in gastronomy, but also in fashion, e-commerce and even portraits for some artists

Why culinary or product photography? What made you get into this field?

Before becoming Crudo, Natalia worked in a cookbook publishing house, and had arrived in the field after finishing her cooking studies in Argentina, where she began her work as a food stylist in various print media On the other hand, Paola is also a Chef, but a pastry chef, and at that time she was setting up a home bakery, and this implied developing food content almost daily from the orders she received It was something natural to follow this path, it was not something planned, it was the field we were working in at the moment

Your photography is more of an advertising type, what type of clients do you work for, do they usually come directly to you or do they contact you more through agencies?

Usually clients come directly to us, which has been very rewarding as there are fewer intermediaries in

the process

We have worked for brands such as Starbucks, Nestle, Ab inBev, Avianca, Juan Valdez, among others

Someone or a brand with whom it would be a dream to collaborate as a creative team?

ufff, there are so many! I think everyone has some on their list

For me (Paola) I would like to collaborate with Josefina Sierra or Nikole Herriot; or do an editorial collab with Mold Magazine and a brand could be Chobani or Adidas

I (Andres) would have liked to have done one of the Gucci campaigns when Alessandro Michele was in charge of the creative direction

Natalia loves The Gourmand magazine and it would be a dream for her to be published there

For you, what requirements must a photograph meet to fall into the advertising category?

In a globalized, hyper-connected world with an excess of images, we believe that an image must not only meet certain technical standards, but also have a great concept and aesthetic execution That people say: why didn't I come up with that?

Where do your ideas come from, what inspires you?

A photographer or artists that have marked you.

We usually say that ideas come from everywhere And it's true Many times you see things walking down the street and an idea comes to you that you want to develop

Clearly everyone has their own references, but the creative ideas that are worthwhile come out of nowhere, they are little things that click and open up a lot of possibilities to develop them

In this number ABOUT talks about color as a main theme, what is the importance of color in your work, what does it represent for you, what does it convey, what does it transmit?

Color is everything to us It is our way of seeing the world, of executing our ideas, of communicating through images

We come from a country in the tropics, full of colors and diversity, we feel that it is something we carry implicit in our images

What do you consider essential or what quality makes it easier to approach your profession?

To dedicate yourself to this you have to have a risktaking and stubborn personality. Do it or die trying. You also have to have a lot of patience, because creative processes take time, not many times ideas come out in the first try

Many times you have to know how to sell ideas, otherwise you are not going to get them to believe in you, you must be able to inspire the confidence that you know what you are doing, even if many times you have no idea how to execute it.

And finally, what advice would you give to someone who is just starting out?

Never stop doing what you like and what makes you happy, the moment you become an operator of your clients, it's all over Because that's when you stop producing your ideas.

@espacio crudo

www.espaciocrudo.com

BLACK White &

The difference between a color photograph and a black and white one is obvious, but what makes the latter so interesting? Photography was born in black and white in the 1830s thanks to physicists and chemists The registration of the first images sounded almost like a small miracle, but for some it seemed to be something that would make humanity increasingly vain, a "mirror of Narcissus" that had, unlike painting, the element of serving as "proof" of the reality that the photographer wanted to show Thus, photography was born as a new way of presenting and disseminating the world

Until today, the second decade of the 21st century, photography has undergone several transformations and even death sentences decreed by lovers of cinema, television, and recently the internet But the process of capturing images that contains a kind of magic has always proven to be adaptable to change, so it survives and continues to have faithful connoisseurs

But what makes black and white photographs continue to exert such fascination? There is an apparent simplicity in black and white photographs Light, so important in this process, is governed by the opposites of presence and absence, light and darkness, and this gives greater drama to these photographs. These opposites highlight conflicts and cause a strangeness that makes our eyes seek objective answers Vilém Flusser in the book Philosophy of the Black Box says that "black and white photographs are the magic of theoretical and conceptual thinking, and that is precisely where their fascination lies. They reveal the beauty of abstract conceptual thinking. Many photographers prefer to shoot in black and white because such photographs show the true meaning of photographic symbols: the universe of concepts "

Text by Zaclis Veiga

Photographs by Henry Milleo

Photographer Sebastião Salgado, known for his black and white photographs of the world, declared in an interview with RFI Brasil that "My world is black and white, I see in black and white, I transform all these wonderful ranges of colorsand I find color very beautiful - into wonderful ranges of gray, black and white is an abstraction, it is a way for me to leave one world and enter another to be able to work on my photographic subject, to be able to dedicate time to the dignity of people That I can do in black and white, I don't think I can do it in color "

The elimination of the color layer also eliminates the "real" aspect of the photographed objects and gives them an aesthetic appearance that expands the reading, demanding a more attentive exercise from the observer Even with the arrival and popularization of color photography, many photographers like Henri Cartier-Bresson continued to shoot in black and white. Bresson, consecrated for his portraits of daily life, says that what matters to him is the form, not the color

The Brazilian photographer Henry Milleo says that when he looks at a black and white photograph, what attracts him is exactly this composition "I admire those who can, in street photography, for example, create the extraordinary, with a scene of a "decisive moment", but I am much more attracted to the possibility of the common and simplicity. Something more similar to the "continuous moment". Small series of photos that tell a story. Geometry of the moving image. And the well-defined tones of shadow and light, with a smooth transition between them " When he shoots, he thinks in black and white "It sounds strange, but I look at what I'm going to photograph and only think about the light and shadow And if it's something very colorful, I already identify the middle tones, like yellow that becomes a 13% gray and things like that So it's not a process of taking the color, because for me it's already in black and white from the moment I choose what to photograph It's weird, but that's how it works in my head," he reveals

In this edition, we highlight two projects by Milleo: Pez, which is part of a series photographed in Havana, tracing the relationship of Cubans with fishing, an almost subsistence activity for the population, and Tomato Sauce, a project carried out during the confinement period of the pandemic and the rediscovery of cookbooks and the act of cooking at home not only for food, but also as a way to occupy time

@henrymilleo

www.henrymilleo.46graus.com

ESPECIAL PROPS

IN FULL COLOR

In this props section, we couldn't miss a space dedicated to those elements that represent vitality, energy, and joy

Elements with intense, vibrant colors that, with the right knowledge, will enhance your photographs and help you tell the story you want to convey through them

When I think of props full of color, I see photographs of Mexican food. Mexican cuisine is color, flavor it's life The props that accompany it should be in harmony

Text by Ana Cristina Jurado

Photographs by Mónica Molina, Zaclis Veiga, Jullianne Medeiros, Sylvie Pabion

The key to using them is to master the use of the color wheel to combine their colors with the color of the food and the rest of the props that will make up the scene, playing with complementary or analogous colors, or more advanced combinations. In addition, knowing color psychology will ensure that the entire image is balanced and harmonious

A good example is found in traditional ceramics On a white piece, it is decorated by hand with motifs of different colors, all of them intense and cheerful.

Some artisans we love who make this type of pieces are Marô Antunes (@maroantunes), Lea Starke (@studiostarke ceramics), or Nicola Hart (nicolahartstudios)

If you are looking for powerful and vital images, dare to explore the world of props full of color You won't regret it!

Photography is a form of art that can create visually impactful images. Monochromatic photography, in particular, is an excellent technique that can leave viewers awestruck. Careful selection of props can make all the difference in creating stunning images. By selecting props of the same color as the food being photographed and playing with the different tones, one can mix elements of more and less intense color in their composition, resulting in visually interesting and attractive images. In this article, we present the monochromatic photographs taken by Ronald Cova of @ishealthyphoto, who has an expert hand in this style Cova's photographs feature the exquisite ceramic pieces of Anna Madej, founder and ceramist of Maceramika. Let's take a closer look at her work.

Text by Ana Cristina Jurado

Photographs by Ronald Cova

Anna Madej is a geologist, educator, ceramist, and potter who discovered her passion for clay in 2014 What started as a valve for her problems and concerns and a moment of connection with herself quickly turned into her way of life. With her training in courses, workshops, a higher cycle, and endless hours of practice, she opened her first workshop in 2018

Anna's first piece, created at Maceramika, had Japanese and Korean influences, but she prefers not to define what Maceramika is, leaving that for those who acquire her unique and timeless creations and find their beauty and use in their own way. @ceramika.ma https://maceramika.com

She draws inspiration from various channels, such as nature, art, words, and even people. She experiments with different techniques and materials and always seeks the perfect balance between aesthetic and functionality in her creations However, the vital element in her work is touch. Whether through texture or form, Anna believes that her pieces must invite being touched and felt through touch, as craftsmanship is the art of touching and using in daily life.

In conclusion, Anna Madej's ceramic creations, paired with Ronald Cova's monochromatic photography, showcase the beauty and impact of combining different art forms. Their work is a testament to the power of art in creating unique and visually stunning pieces

BLACK Plaart WHITE and

Black and white props are a basic necessity for any selfrespecting food photographer's shelves. These two colors, along with the range of grays, are part of what we call "neutral colors" and are perfect for beginners in food and gastronomic photography who have no experience with the use of the color wheel. In addition, using props in these neutral colors means that not much more information is provided other than what the food gives us, making the focus and attention of the viewer fall on what's important, the food.

Text by Ana Cristina Jurado and photographs by Ana Gómez - Qosen Photo

At About, we want to introduce you to the wonderful black and white pieces by Isabel San Martín, founder and designer of the ceramic project PLAART.

PLAART is a ceramic studio located in Madrid and a space for contemporary design and craftsmanship where unique objects loaded with beauty and naturalness are created to be enjoyed in our daily lives

@plaart ceramica

https://plaart.es

sabel's training in Fine Arts, her experience in modeling, and subsequent raining in Plastic Arts, Pottery, and Ceramics are reflected in her pieces made from the reinterpretation of traditional techniques and styles, but with a contemporary vision. The care and exclusivity that go into her work, as she is present in every step of the creation process from the nitial concept to the packaging, allow her to leave her mark as an artist and make it clear that PLAART is antagonistic to mass-produced products

Culture, nature, people, or experiences are the seeds that Isabel uses to create beautiful objects such as the plates in the Ajuar collection that you can see in this article. Objects that allow us to cultivate beauty in our daily lives and create small moments of happiness

We cannot conclude without giving credit to Ana Gómez from @qosen photo, whose photographs of Isabel Ana Martín's creations allow us to see the soul within them.

www qosen.eu

Recommended Photographer

Javier DE LA TORRE

Interview by Mónica Molina

Photographs by Javier de la Torre

Today we want to introduce you to Javier de la Torre, a landscape photographer and photography teacher. His works are a true delight for the eyes, full of color and captured in many of the most beautiful corners of the world

His work has it all: stunning composition, impeccable technique, amazing details, impeccable post-production, and his ability to use color to convey completely different moods and emotions Javier is a storyteller, each of his photos tells us something, transmits something, in short, makes us feel.

This Madrid native with many travels under his belt, amazes us with both his landscape photography, cityscapes from all around the world, and his use of a more cinematic style. Always accompanied by Raquel (his wife and model in his photos), he takes us on a journey through his works

We would like you to introduce yourself

My name is Javier de la Torre, I was born in Madrid in 1975, so this year I will be turning 48 in June I enjoy traveling, cinema, Lego, going out on my motorcycle and occasionally taking photos.

How did you become a photographer? What led you to it?

The culprit behind everything is my father. He was a photographer, and I grew up surrounded by photography from a very young age On weekends, my father would take my sister and me on a walk around Madrid to take photos, so, playing around, and almost unintentionally, I learned the basic concepts of photography.

Without realizing it, I already had that passion for photography in my veins that still exists to this day.

What type of photography can we find in your gallery?

How would you define it?

My gallery is a real mishmash

I started with landscape photography, going on vacation to the mountains (Pirineos and Picos de Europa), and there, I began to take my first shots by "stealing" my father's camera

Then, I became obsessed with nighttime landscape photography.

Then Raquel came into my life, and we started traveling all over the world, visiting all those incredible places that are scattered around the planet and witnessing the spectacles that nature offers us, such as the northern lights But Raquel is very, very, very sensitive to the cold, so we started visiting cities That's where my passion for urban landscape photography was born

And if we combine that with my love for cinema, comics, and video games, inevitably, I fell into the trap of cyberpunk or neon noir photography, which led me to fall in love with street photography

As you can see, a great variety of styles

What makes a good photo for you?

Without a doubt, a good photo is one that evokes some kind of feeling when you see it, that tells you a story, that makes you think, and that you can't take your eyes off of. This is the big problem I encounter with most of the students who take one of my courses or attend one of the face-to-face workshops They don't quite find a way to tell stories with their photos.

Thanks to photography, I have visited incredible places, I have met a great variety of cultures and people, and that makes you see life from a broader perspective You realize many things that you are unaware of when you have never left your home, your country

Can you tell us about any special adventure behind a photo or photos?

Ufffff many anecdotes In fact, telling these anecdotes is what I do in the emails I send every day to my subscriber list

I take this opportunity to invite ABOUT Magazine readers to subscribe by going to javierdlt com Every day, I send an email with cool things about photography

If I had to choose a specific anecdote, it could be the one we experienced when I took the photo of the two net weavers in Vietnam

I had always wondered how this type of photo was taken

I thought the building where it was taken had two floors, and while the weavers were on the lower floor, in a kind of courtyard, the photographer would be located on the upper floor, in a kind of gallery surrounding the courtyard

But no.

The answer is much simpler and more obvious To take that type of photo, all the photographer has to do is climb a ladder

I see that color is an important part of your photos, tell me what it represents for you What do you want to convey?

Color is one of the keys in my photography Depending on what I want to convey, I apply color psychology (a very important part of color theory).

I also use color to direct the viewer's gaze where I want it We could talk for hours about this topic because it is fascinating Color theory and its application in photography is a topic that I delve into in depth in two of my courses:

Revolutionize Your Photography

Cinematographic Photography

Lastly, and not least important, I use color to capture attention By using the appropriate color combination, you can ensure that your photo does not go unnoticed at all.

Let's talk about editing In my opinion, you have your own personal style that makes us recognize your photos without seeing your name. Do you think it is an important part of photos?

For me, photography without editing is inconceivable. With editing, you can transmit part of your essence, your soul to your photos It is the key to fully achieve that the photo you have taken is "your photo"

Can you tell us about any future projects?

When this interview is published, I will have just returned from a three-week trip to the Lofoten Islands in northern Norway, where I will have attempted to photograph the Northern Lights in the unique landscapes that these islands offer us, and I will be about to embark on a new trip, this time to Patagonia, which has me a little anxious due to the physical effort it will require, but for which I hope to be prepared.

And by the end of the year, I hope to be able to return to Japan, but that is not yet certain

@javierltg

Burano, Venecia

When colour

P E N E T R A T E S

INTO THE SOUL

Interview by Carmen Moreno

An explosion of colour floods your eyes and the good vibes are contagious when you visit her Instagram account, which is why our interviewee practices her profession as a therapist and colour healer.

We are talking about Kerry Governato or @colourspeak kerry , Australian and Italian in equal parts, as she considers herself, where her other talent as a photographer makes us enjoy wonderful places, unforgettable moments and dreams to be fulfilled It's a real shot of energy, a slap of energy, that good energy that reconciles you with life

Kerry, looking at your Instagram account we understand the importance of colour for you, what do you look for when you are taking a photograph, a perfect framing or simply the search for colour for colour's sake?

When I create and set up a shot it starts with looking for the colour chart I want to create. When I do photography, framing and symmetry are also very important But I choose the work intuitively, I see how I feel about a colour or a scene.

Recommended Cities

Sydney, Australia

Photographs by Kerry Governato

And when you choose a city to visit, is it also the colour that attracts you most to it or, on the contrary, its lack of colour?

When I visit cities I like to play with spontaneity and freedom Very often I stumble upon colours in interiors, on doors, buildings or even in the hotels themselves

I am always looking for colours and their complements, seeing how different tones and shades work.

When I choose one city over another I always go for small towns or cities that have their own style and colour What attracts me most is precisely their colour and style As I said, doors, painted facades of houses like in Notting Hill in London or Burano in Venice

This is precisely one of the most colourful places I have visited, along with Procida, in Naples I could also recommend, always in the search for colour, some places in Portugal, such as Lisbon or Porto.

On the other hand, the least colourful city I have visited was Turin, although it is equally beautiful (I have a strong connection with this city, because of my father)

Kerry, could you give us a ranking of the five most beautiful and colourful cities that you have visited and that you would recommend us to visit?

I could tell you, as I said before, Burano in Venice and Procida in Naples But I would also recommend Havana, Chefchaouen in Morocco, Menton in France and Jodhpur in India.

After the pandemic, the desire to travel has resumed Which cities do you have in mind to visit in 2023?

This year I will return to Italy to visit Cinque Terre again (Riomaggione, Corniglia, Vernazza, Manarola and Monterosso), an area full of colour I also plan to visit Sicily, to discover its colour.

Finally, could you give us some clues as to what colour is for you, what role it plays in your life? Colour for me could be said to be joy and a wonderful way to express your personality. Without colour our lives could be white, black or grey only

Colour can uplift the soul, just by putting on a yellow dress you can feel happy, confident and ready to enjoy yourself.

I can't imagine my life without colour, my home, my work and above all without feeling what it makes me feel

@colourspeak kerry

Burano, Venecia

Monopoli, Puglia

Abruzzo, Italia

Sydney, Australia

Burano, Italia

Burano, Italia

Burano, Italia

ABOUT guide

A B O U T GASTRONOMIC GUIDE

THE ABOUT GUIDE IS WHERE WE GATHER DELICIOUS RECIPES AND THE BEST LOCATIONS AROUND THE WORLD FOR DISCERNING AND DEMANDING PALATES

Raimunda RESTAURANT

This elegant restaurant is located in one of the most iconic places in Madrid, in between the Cibeles Square, famous for being the place where Real Madrid celebrates their championship wins, and the Linares Palace, current headquarters of the Casa de América.

Text by Sylvie Pabion

Photographs by The Dualist Agency

Their offerings include a mix of traditional Spanish recipes and more exotic dishes from the other side of the Atlantic As an example of the delights that can be found on the menu, there are tequeños Venezuelan style with lime green mojo, Iberian pork tacos al pastor, salmon tataki with garlic soup, grilled octopus with nikkei red mojo, or crispy lasagna made with oxtail, boletus, and truffle For regulars who already know the place, their legendary dishes are still available, such as puff pastry potatoes with chipotle bravas sauce, creamy Russian salad with roasted sweet potato and tobiko, and truffled eggs

Raimunda has indoor and outdoor dining, and in its garden surrounded by vegetation, one can enjoy a wide selection of the best cocktails and mixed drinks under the capital's sky.

If you plan to go during peak hours, we recommend you make a reservation so you don’t have to wait to try their delicious cuisine

An authentic oasis in the heart of Madrid!

Paseo de Recoletos, 2. Madrid

Telephone: 910 88 72 47

@raimundamadrid

www.grupolafabrica.es/restaurante-raimunda

Creamy Russian potato salad with roasted sweet potato and Iberian pork tacos al pastor.

Nutella and hazelnut 'Huesitos' cake

Torcuato RESTAURANT

Located on the rooftop of the ABC Serrano shopping center in Madrid's Golden Mile, Torcuato is known for its exterior architecture (neo plateresque style from the late 19th century) that perfectly blends with the avant-garde design of its interior. This iconic building was the headquarters of Blanco y Negro magazine and the ABC newspaper until 1989 and is named after the founder of these publications, Torcuato Luca de Tena The writer and journalist loved to travel and explore the world and the menu reflects this love of international cuisine.

Text by Sylvie Pabion

Photographs by The Dualist Agency

The interior of the restaurant is designed by decorator Pepe Leal, who drew his inspiration from “curiosity cabinets” and the bourgeois palaces of the past The effect is magical "It’s as eclectic as the years the building dates from, in the late 19th century, it was very fashionable to mix different styles," comments the interior designer

Red tuna tartare with wild rice and cashews

As we mentioned earlier, the restaurant menu, created by the TV chef Sergio Fernández, does not cling to any particular cuisine, taking a little bit from here and there, becoming rather like a passport that allows us to travel the world through its dishes In its first course or "raw bar," we find eel, foie gras and mango makis, red tuna nigiri with gochujang or flambéed salmon with yuzu mayo. Next, the cold and hot starters stand out, including cherry gazpacho with Idiazábal ice cream and crispy yucca, marinated herring with avocado carpaccio, or gratin kimchi noodles with red tuna

Chocolate cake with Peta Zetas and Fisherman's candies

Continuing with the menu, we find fish and meat dishes such as roasted and marinated achiote corvina loin or spiced lamb burger. And in its dessert section, we cannot fail to mention the creamy cheesecake with grated parmesan or the Torcuato “cake”, a dessert with a surprise that must be shared among 4 or 6 people.

An affordable luxury restaurant with delightful cuisine and a fun atmosphere.

Madrid Telephone 910 881 541 @torcuatomadrid www.grupolafabrica.es/restaurante-torcuato

C.C. ABC Serrano. Calle Serrano, 61

Tomato, strawberry, and marinated herring salad.

BAKERY BOUTIQUE DO PÃO DE LÓ

Right at the entrance we are welcomed with a luminous sign that reads “Hey Sugar” The greeting anticipates what we are going to find in this bakery located in the South of Brazil, in Santa Catarina, called Boutique do Pão de ló

It was the recipe for a sponge cake dough, kept in the notebook of owner Vanessa Dai Pra's grandmother, which started a successful project that already has two stores, one in Balneário Camboriú and another in Itajaí, as well as a food truck that takes sweets to various places in the cities surrounding the Vale do Itajaí region The products, created at home by Vera’s hands, Vanessa's mother, are so successful that the company is preparing to open franchises throughout Brazil

The playful and cheerful architecture of the shop in Balneário, which is signed by architect Vanessa Larre, serves as a refreshment among the buildings of the trendy city on the coast of Brazil. The gardens surround the colourful store inviting one to take a break

The place is also designed for those who want to have a cup of coffee and work peacefully on their laptops and mobile phones

At peak hours there are queues of people wishing to have a delicious coffee and non-alcoholic drinks, the best “coxinha” of the city, the “pães de queijo” made with cheese from Serra da Canastra and the lovely red velvet The window display always has something new and, therefore, we can visit as many times as we want without the fear of getting bored.

Text and photographs by Zaclis Veiga

Balneario Camboriú, Calle 916, 369 Centro @boutiquedopaodelo

JAUME ARNAU

Jaume Arnau is a highly experienced bartender who is passionate about creating unique experiences through the combination of flavors, aromas, and textures. Despite being colorblind, Jaume's creativity knows no bounds He constantly explores new ideas and creates innovative and balanced recipes in taste

One of Jaume's most notable characteristics is his research skills and his ability to work with different products He pays attention to every detail and always strives for excellence in each of his creations. With a wealth of experience, having participated in numerous high-level events and managed bars in different parts of the world, Jaume is a dedicated bartender with a high level of expertise in the world of mixology

Text by Julianne Medeiros

Photographs by Lorena Márquez

Creativity has no limits. Discover the hidden colors behind every cocktail with Jaume Arnau

How long have you been working behind a bar?

I've been working behind a bar practically my entire life I started at 20 or 21 years old working in nightclub bars, and I've been a bartender for about 13 years

How and when did you start in mixology?

I took my first mixology course in 2010, thanks to a good friend who worked at a mixology school and gave me the course as a birthday gift

What are the most important and unique events in which you have worked as a bartender? Have you participated in any competitions?

I've worked in many interesting events, but I would like to highlight two in particular: when I was at the Moët bar in Baqueira, which is in the middle of the mountain next to a ski slope, and when I was in London with other bartenders and the 50 best bars in the world invited by a major brand. As for competitions, I've participated in the World Class Competition and the Campari competition

Do you consider Spain a reference in mixology? How is the profession here?

For me, Spain has a high level You can always find excellent cocktail bars wherever you go. Here in

Barcelona, for example, there's a bar that has been awarded as the best bar in the world.

This issue of the magazine is about color, and you've mentioned that you're colorblind. How does this affect your work and the creation of your own cocktail recipes?

When creating my own recipes, I focus on researching the product I'm working with: how it's made, the botanicals it contains, the aromas it has, and the taste, without considering the color I don't look for colors when creating, I focus on the flavors and aromas of each product I use to make the appropriate mix, regardless of the color that comes out.

What dream do you have left to fulfill in your profession?

My biggest dream is to continue dedicating myself to mixology, as I'm passionate about it I also want to continue offering customers unique experiences of flavors, aromas, and colors. For me, that's the best dream, and being able to continue doing it is my greatest motivation

@jaume arnau @lorenastrategy www.lorenamarquez.com

BODEGA Teodoro Ruíz Monge

Text by Sergio Díez Cámara

Photographs by Bodega Teodoro Ruíz Monge

At the feet of the Sierra de Toloño mountains in La Rioja Alta (Spain) lies a small village with a great winemaking tradition, its name is San Vicente de la Sonsierra. Despite its small size, more than twenty wineries coexist in a town of about 1000 inhabitants

Within this maze of wineries, we find one very special family-owned winery, "Bodega Teodoro Ruiz Monge" , which is now in its fourth generation. According to archival documents, the family has been in the winemaking business since 1870 As they themselves say, "For over a century, we have been passing down to future generations our passion, dedication, and tireless efforts in cultivating a love for our vineyards and artisanal creations.

In this family winery they continue to do what they love most, making a carefully crafted wine, in small quantities (45,000 liters), with great care and using traditional methods in open concrete tanks Wine is not made, it is grown.

One of their flagship wines is ZURBANO, a carbonic maceration from their own vineyards on clay-limestone soil

"WINE IS NOT MADÉ, IT IS GROWN"

85% Tempranillo, 10% Garnacha, 5% Viura Intense violet-red color, with predominance of balsamic and spicy aromas, and a taste of red fruits with a slight toasted note Round and fresh wine, preserving the characteristics of carbonic maceration

When others follow the trend, there is always someone who resists An ace up their sleeve

Tel: 941 334 221

San Vicente de la Sonsierra - La Rioja (Spain)

www.bodegateodororuizmonge.com @bodegateodororuizmonge

Recommended Wine

MERALDIS VERDEJO

Text by Ana Cristina Jurado

The Yllera family has been producing wine for six generations and has an impressive collection of wines, including the frizzante Yllera 5.5 Blanco and the classic Yllera 12 Meses However, our recommendation for this issue is their Meraldis Verdejo, which received the rating of Great Wine of Rueda in its 2020 vintage. This rating signifies that the wine comes from vineyards with an age of over 30 years and exceptional controlled conditions

www.meraldis.grupoyllera.com

@bodegas yllera

Photographs by Grupo Yllera

Meraldis Verdejo is part of the Meraldis collection, which also includes a Tempranillo wine and an Albillo Mayor The collection is inspired by the precious stone considered the queen of gems, the emerald, as seen on its elegant label This wine is made using the integral vinification technique, where only one container is used for malolactic and alcoholic fermentations, and is aged in 500-liter oak barrels with indigenous yeasts These factors make Meraldis Verdejo an exciting and sophisticated wine, a true sensory gem.

The wine's visual phase reveals a golden color, and the olfactory phase exhibits powerful primary aromas of ripe fruit, including apple, stone fruit such as peach and apricot, and citrus notes such as grapefruit and mandarin. The wine also has sensual and delicate notes of vanilla and smoky tones provided by the barrel aging, accompanied by its characteristic final anise touch.

The gustatory phase showcases great structure in the mouth, with a wide, unctuous, and elegant taste, balanced by its acidity that provides excellent freshness The wine also has a great body and extract, a long persistence, and a complete range of flavors.

As an unfiltered wine, Meraldis Verdejo should be decanted in advance, and it is recommended not to serve it excessively cold From the moment the bottle is uncorked, the wine evolves, gaining nuances and elegance. It contains sulfites.

Special SPRING RECIPES

Pumpkin Mille-Feuille

J U A N A N D R É S G A L L A R D O R O S E L I C A N D Ê O Cosmopolitan

cocktail

PUMPKIN MILLE-FEUILLE

Federika was born in a small town in the state of Minas Gerais, in central Brazil, and memories of her childhood populate her photographs Copper pots, vegetables from the garden, bubbling food in the wood-fired kitchen, the cake that perfumed sunny afternoons, and the flowers that covered the garden and adorned the simple table in the house are part of the scenarios in her photographs that allow her to reconnect with her mother and grandmother

During the pandemic, she started sharing her culinary stories and discovered that food is medicine for the body and soul

Pumpkin has always been Federika's favorite vegetable, and when asked for the recipe, she said, "When I was a child, my mother used to sauté it Inspired by the potato mille-feuille recipe, I created my version, the pumpkin mille-feuille When About magazine invited me to create a recipe, I immediately thought of pumpkin, as it not only brings beautiful memories but is also delicious and very photogenic."

Text and photographs by Federika De Filippis

@federikadefilippis

Ingredients

300 grams of thinly sliced pumpkin with the skin on

2 tablespoons of olive oil

1 pinch of salt

1 teaspoon of oregano

1 sprig of thyme

Preparation

Wash and slice the peeled pumpkin into thin rounds

Pass the slices through a slicer to obtain very thin rounds

Season the rounds with olive oil, oregano, and salt

Arrange the slices in a circular baking dish, forming a flower shape

Mix the remaining ingredients and pour over the slices Cover the dish with aluminum foil.

Bake in a preheated oven at 200 degrees Celsius for 25 minutes, then remove the foil and bake for another 15 minutes until golden brown!

After roasting, garnish with fresh thyme sprigs.

SPRING SALAD New potato

Text by Adina Chitu

Photographs by Adina Chitu

It all started with an American pancake. That's how Adina Chitu began her delicious adventure in the kitchen As a food stylist and photographer, she knows how to showcase all the sweet and savory creations she makes at her home in Bucharest (Romania), which you can enjoy on her blog Pancake Planet.

Spring is probably my favourite season, it always inspires me with its vitality, colors and freshness.

I grew up in a small village where I could see the first signs of spring so vividly surrounding me like blooming trees, the gentle hum of insects, the chirping of lovely birds and the first veggies. How I loved the first radishes or the first tiny potatoes, seeing them pulled out of the ground was such an exciting moment, I knew that they don’t need to be sliced, being so tiny all you had to do was to wash them, dip fried them and have them with lots of fresh dill and cheese on top. They were so soft and delicious, they also had a special sweetness

As an adult I adopted a healthier style and I almost never deep fry potatoes at home, I use the oven or the air fryer for that with just a bit of olive oil, but the amazing taste of spring new potatoes is still there, sharing next my super simple and favourite potato spring salad, make sure to add plenty of dill and cheese on top

Ingredients

1 kg new potatoes

A pinch of salt and a pinch of pepper

1/2 teaspoon dried thyme

1 tablespoon oil

4 radishes

1 purple turnip (optional)

1 cucumber

100-200 g goat cheese

2 spring onion

Fresh dill

2 tablespoons basil pesto

2 tablespoons mayo

1 teaspoon mustard seeds

Preparation

Wash the new potatoes very well then slice them in big chunks or thick slices.

Pat them dry with a kitchen towel, then sprinkle salt, pepper, oil, and thyme

I used an airfryer to cook them but you can also roast them in the preheated oven 180 Celsius for about 30-40 minutes or until they are nice and golden Select the potato function of the airfryer, it will take 30 minutes for them to cook, if you want them even crispier, you can leave them for another 5 extra minutes at 180 Celsius.

Meanwhile you can slice you veggies, you can add a splash of vinegar and salt over the sliced radishes, turnip, and cucumbers

if you want, sprinkle the cheese over the potatoes along with your veggies, sliced spring onions, fresh pesto and the fresh dill finely chopped on top

Enjoy!

PINK VELVET cake

Juan Andrés Gallardo is a talented blogger, cake designer, and food photographer based in Granada, Spain On his blog El Dulce Objetivo, he shares his mouth-watering sweet creations that are sure to delight your taste buds. His impeccable cake designs are truly breathtaking and leave us in awe, while his captivating photographs inspire us to roll up our sleeves and recreate both traditional and modern sweet treats

Introducing Pink Velvet Cake, the ultimate dessert that guarantees to leave a lasting impression on your taste buds.

A perfect way to end any event or celebration, this cake is all about creating joyful memories and satisfying your sweet tooth As a baker, I understand the importance of both presentation and flavor, and that's why I've decided to leave this cake completely naked

With a vibrant pink hue on the inside, this cake is simple yet impactful, perfect for anyone regardless of their baking experience So let's dive in and make a cake that not only looks beautiful but tastes just as good!

Ingredients

Sponge cake:

250g butter

250g white sugar

3 large eggs

280g all-purpose flour

1 tsp baking powder (Royal yeast)

1 tsp baking soda

1 pinch of salt

250g buttermilk (230g whole milk and 20g apple cider vinegar)

1 tsp vanilla paste or zest of 1 vanilla pod

Pink gel food coloring

For the mascarpone buttercream

175g butter

125g mascarpone cheese

100g egg whites

125g white sugar

1 tbsp vanilla paste

Cherry jam or flavor of your choice

Recipe and photographs by Juan Andrés Gallardo

Preparation

For the cake

Preheat the oven to 180ºC and prepare 4 molds by applying release spray and lining the bottom with baking paper.

To make buttermilk, add apple cider vinegar to whole milk, stir and let it sit for at least 10 minutes until the milk curdles

Beat the sugar with the butter for about 10 minutes, until the mixture becomes white and frothy. Sift the flour, baking powder, baking soda, and salt, and set aside.

Add eggs to the butter mixture one by one, waiting until each egg is well incorporated before adding the next

Add vanilla paste

Incorporate the flour into the mixture in three parts, alternating with buttermilk. Start with flour, add half of the buttermilk, repeat the process, and end with flour

Add a small amount of pink gel food coloring to the dough and mix until the desired color is achieved

Divide the dough into 4 equal parts and place them into prepared molds.

Bake for 35 minutes or until a toothpick comes out clean

Let the cakes rest in the molds on a wire rack for 10 minutes before unmolding and letting them cool

Wrap the cakes individually with film and refrigerate for at least 6 hours to harden before assembly

Tips

*It is very important that all the ingredients are at room temperature

*Although the dough may seem cut, it is nothing more than the product of the contrast in the change of temperatures with the butter, especially in winter. When put the flour this problem can be solved, if not it will when it is put in the oven, the temperatures will homogenize and it will bake perfect

*Wrapping the cakes in film when they are warm helps to maintain the moisture and juiciness of these They can be perfectly frozen

FOR THE MASCARPONE BUTTERCREAM:

Put egg whites and sugar in a bowl and cook in a bain-marie at medium temperature, stirring constantly until the sugar dissolves, not exceeding 60ºC

Pour the whites into a bowl and beat until a firm, shiny meringue forms at room temperature

Cut the butter into cubes and gradually incorporate it into the meringue. Add mascarpone cheese and continue beating

Finally, add vanilla paste

ASSEMBLY:

Level the cakes with a lyre or baker's knife to make discs approximately 2cm thick

Place the mascarpone cream into a piping bag fitted with a round nozzle. Place the jam in a separate piping bag and cut a small hole

Fix the first cake on the base using a little cream to hold it in place. Pipe small cups of cream onto the surface of the cake

Place a little jam between the cups of cream.

Repeat the process with the remaining cakes, ending with the last one Decorate with red fruits, edible flowers or to suit the consumer.

@eldulceobjetivo

www.eldulceobjetivo.com

*Clean very well with vinegar or lemon all the accessories that we are going to use to make the meringue, so that they are not contaminated with something that can make the whites not rise

*It is very important that all the ingredients are at the same temperature If at the time the cream seems cut, do not discard it, it is because of the difference in temperatures Apply heat or cold to our cream so that the temperatures homogenize and beat to recover it It is practically impossible not to recover this cream

Tips Tips

*Always work the cake cold so that it is easier to handle

*If our cakes have come out with a brown cap, pass a fine grater so that it looks prettier

*Preferably use rigid bases where to assemble the cake, so that when moving it does not run risks

*Want a perfect cut? Slightly heat the knife with which you are going to cut it.

*Consume the cake at room temperature

PASTE

"Easy Paste" Recipe FLOWER EDIBLE

Chef and teacher Roseli Candêo began making sugar flowers to decorate her cakes. After some trials, she found the best way to make them using "Easy Paste". Her production of flowers decorates commemorative cakes that cannot include natural flowers so as not to affect the flavor or contaminate the product, as not all flowers are edible. This paste has good durability, the petals become translucent and absorb colors very well, allowing the flowers to have a very natural appearance Here is the recipe:

@roselicandeo

www.roselicortadores.com.br

Recipe by Roseli Candêo and photographs by Zaclis Veiga

Ingredients

35g transparent glucose

50g water

5g distilled glycerin

10g coconut fat

3g CMC

100g yucca flour (also known as "polvilho doce" in Latin stores)

Preparation

Sift the yucca flour through a very fine sieve and set aside.

In a saucepan, combine the glucose, water, glycerin, and coconut fat, and bring to a boil While the mixture is boiling, add the flour and CMC, well mixed

Remove the mixture from the heat and stir well, making sure to scald the flour

Place the mixture on a clean countertop and knead until smooth and soft Be careful, as the mixture will be hot! Divide the dough into small parts and let it cool. Wrap each part in plastic wrap and store in the refrigerator for a maximum of 10 days If desired, the dough can be colored with edible dyes before shaping

To make the flowers, cut the dough into the shape of the flowers you want to create For example, to make a rose, wrap the first two petals around a rose pistil and then place each of the petals around this ball until the end.

Let the flowers dry and then brush them with powdered food coloring, making soft strokes on the tips of the petals to achieve movement and volume

Enjoy making beautiful and edible flowers with this amazing paste!

Final tip

Observing natural flowers can help you shape and paint your edible flowers more realistically

ALCOHOLIC COCKTAIL

Cosmopolitan

Katarzyna Anders is a food photographer, as well as a graphic designer by training and author of the blog Fotokulinarnie, which attracts one hundred thousand visitors per month to see her wonderful recipes From Poland, and through her photographs full of vibrant and intense colors, we enjoy her sweet and savory creations, not to mention her wonderful cocktails, such as the classic Cosmopolitan that she has created for The About Magazine.

The Cosmopolitan cocktail is a classic drink that never goes out of style, with its bright pink hue and bold flavour It combines the sweetness of cranberry juice with the tang of lime juice, making it a refreshing drink perfect for any occasion

The Cosmopolitan cocktail was created in either New York City or Miami in the 1970s or 80s However, it was the hit TV series "Sex and the City" that played a major role in popularising the drink, as it was a favourite of the main character, Carrie Bradshaw.

It was this show that encouraged me to try this cocktail and now to share the recipe, because I think it is a drink that adds a touch of elegance and excitement to any occasion. And the beautiful pink-red colour will make you smile even before you taste it.

Recipe and photographs by Katarzyna Anders

Ingredients

40ml lime or lemon vodka

15ml Cointreau

15 ml fresh lime juice

30ml cranberry juice

Ice Orange twist

For the garnish:

Preparation

Fill a cocktail shaker with ice

Add lime or lemon vodka, Cointreau, fresh lime juice and cranberry juice. Shake the cocktail shaker for about 15 seconds until chilled Strain the cocktail into a martini glass

Garnish with an orange twist.

For an extra burst of flavour and to enhance the cocktail's aroma, express an orange peel - squeeze the peel well over the filled cocktail glass to release as much oil as possible onto the surface of the cocktail

@fotokulinarnie www.fotokulinarnie.pl

Edible flowers

THE COLORS THAT TANTALIZE THE PALATE

The saying "we eat with our eyes" justifies the increasing use of edible flowers in world cuisine. These flowers not only provide aesthetic appeal but also meet the new nutritional, taste, and texture demands of food Their care and personalized touch offer a unique artisanal flair to food presentation in an increasingly industrialized and technological era

The use of edible flowers has been around for more than 3,000 years, according to a study from the Postgraduate Program in Plant Science of the Luiz Queiroz College of Agriculture (Esalq/USP) Edible flowers were initially consumed for their medicinal and nutritional value. Some edible flowers such as roses, begonias, and pansies, used since ancient times, lost their popularity but returned a few years ago as gastronomic trends.

The demand for new colors, flavors, textures, and sensations associated with a healthier lifestyle, social media, and gastronomic programs have helped this market's growth. Chef Celso Freire notes that the use of flowers has become a trend and continues to grow However, it's essential to handle them with care. Edible flowers should primarily be used in cold dishes to prevent the heat from damaging

them They must be fresh and used in detail to reinforce the dishes' flavor profile and not overshadow them.

Agronomist, Ph D in Plant Science, and technical responsible for Atelier Lirios y Rosas, Neilton Antonio Fiusa Araújo explains that the term "edible flowers" refers exclusively to species better known for their ornamental value, such as roses, nasturtiums, pansies, carnations, and other species that have moved from gardens to the table

This movement has shaken the market Edible flowers generated a value of $265 million worldwide in 2018, with an estimated $504 million for 2030 European countries, mainly France, Spain, and Portugal, concentrate most of the production.

In Brazil, according to Rosseto, there are greater records of use in gastronomic centers such as the state of São Paulo, along with the highest number of producers. Factors that influence the search for these products are nutritional levels, sustainability, and curiosity motivated mainly by the media

Text by Rosa Maria Dalla Costa

Photographs by Jullianne Medeiros and Zaclis Veiga

pansies, carnations, and other species...

Agronomist,

...edible flowers refers exclusively to species better known for their ornamental value, such as roses, nasturtiums,

NEILTON ANTONIO FIUSA ARAÚJO

Ph D in Plant Science

Marilda Pianaro's interest in the production of edible flowers sparked after watching the movie "Like Water for Chocolate " The delicacy of the dish "Cordor With Rose Petals" led her to abandon her career as a psychologist and produce and sell organic flowers to this day.

The use of flowers as condiments and flavor enhancers dates back to ancient times However, it began to gain popularity with the emergence of the Nouvelle Cuisine movement in France in the 1970s This movement aimed to bring a new way of cooking and presenting dishes, emphasizing delicacy.

The main consideration when introducing edible flowers is their freshness, which is achieved through creating a production chain. The flowers must be produced in quantity, with quality and frequency Pianaro prepares trays three times a week with a maximum of 20 flowers each, harvested and packaged one by one, gently, to be taken to the market.

In conclusion, the handmade work and dedication, increasingly based on nutritional criteria, make edible flowers true poetic verses in the art of gastronomy However, as Freire notes, customers need to be aware of the flowers' taste and use them carefully to avoid overshadowing the dish's overall flavor profile.

BEES vital to the ecosystem

Interview and photographs by Laura Becerra Ortiz

"To be a beekeeper and be able to work with bees is a privilege, and many do not understand it. Bees are a key link in sustaining ecosystems and are in danger As consumers, we can do a lot: getting to know those who work with them and learning more about their world is always a good first step.

Today in ABOUT Magazine, we learn about the work of Terra de Goyco, a family business of beekeepers in the south of the province of Mendoza, Argentina, who take on this task as a privilege and carry it out in a clean and natural way, in harmony with the earth

"The most important thing when we talk about bees is that thanks to them, there is pollination, a process that affects the whole environment and all living beings," says Silvana Nosal, who, along with her husband Ricardo Pistelli and their daughter Carolina, runs the enterprise "After considering that, we can talk about what they produce: pollen, honey, propolis, royal jelly, wax, and paraffin."

Many species of plants, fruits, vegetables, and elements of nature that are real foods depend on this pollination.

Silvana: Exactly, and it also generates the proliferation of native plants that sustain and preserve healthy ecosystems Currently, the megaagricultural industry, monocultures, or excessive deforestation, for example, causes great climatic changes, and that means that there are fewer and fewer bees. In the beehives, we find variables that we cannot control and that have to do with these climate modifications, and if this continues, it will be difficult to continue developing agriculture and beekeeping as we have been doing The ecosystem is being distorted, and it is very clear through the bees

So, is the beehive a kind of representation of the place where it is located?

Of course, it is a natural test. We periodically move some beehives, and after a while, when we uncover them, we find information We see how the pollen and nectar are, if the colony is well-nourished, if there are or not offspring, if there is color diversity Everything is variable and shows us the conditions of the place. The source of water on the site is also essential, and many perhaps do not give it importance A beehive in spring-summer consumes about three liters of water per day.

Therefore, the quality of water also becomes very important, and it is known that water today is also a threatened resource.

Yes, here the most significant thing is that it does not have many chemicals, that it is not drainage or waste That is why natural environments are sought. In Mendoza, there is more saline water, but native bees are adapted to that because they are from here, and the same thing happens with everything around them Keeping these things in mind and taking care of them, above all, is the priority. Ensuring their survival, accompanying them This is an extractive activity, but it is necessary to keep in mind that the first thing is the health of the bees, that for us to have honey or pollen, the most important thing is to respect them and for them to produce for their beehive, to be able to live. Later, we humans come. These are the premises of a good beekeeper for us How is it to carry out that work in a conscious way in today's world?

Today more than ever it's a demanding task because we are in a climate red alert, ecosystems are deteriorating rapidly and that threatens everything that is alive There is a lot to restore, reconcile, and review. Nature is putting limits on us but we don't accept them Being a beekeeper and being able to work with bees is a privilege and many do not understand it, they set purely commercial objectives and do not see the environmental aspect, they lose the real purpose that this task should imply

That's how adulterated honey or products that reach the consumer as such but are not, also appear.

In addition to not caring for the essence of bees, it's common to feed them with artificial food There is already adulteration from the internal process of elaboration with sugar syrups bleached with chemicals that greatly damage their health and atrophy their glands Then, when any honey comes out of the honeycomb, it's already contaminated and loses its genuineness Honey in the honeycomb is the highest quality honey because it's in contact with the natural container, wax, etc.

So when honey is packaged, there is already manipulation that is done in the service, let's say, of humans. Of course. For the conscious consumer, it should be a priority to know the producer, talk to whoever sells them the honey to know how they work It's a good way to help us continue to have healthy bees and therefore a healthy ecosystem, and then, good honey.

What to consider when buying

Honey is a living food like any other that nature provides Its perfect container is the original, the natural one: the wax honeycomb crafted by bees

When buying honey, observe that it's in a solid state Ideally, get to know the producer Read its origin or provenance and consider that its color doesn't identify its quality, but the plants from which it comes.

Liquid It only remains in that state inside the honeycomb and for approximately one year.

Solid Outside the honeycomb, it solidifies within a few days of extraction It should be stored in preferably dark glass as it's affected by light and doesn't tolerate thermal amplitudes (the ideal maintenance temperature is 10 to 12 degrees Celsius) Plastic is harmful to honey

TERRA DE GOYCO

They are the third generation of beekeepers and carry out a clean and natural task: "we accompany the hives, connect with them, respect the hive and the bees," they comment They have been in this activity for 22 years

They are located in General Alvear, Mendoza, Argentina They commercialize their products and offer guided tours to tourists, groups, and schools to raise awareness about the world of honey and bees

Through their social media and website, they show their work and disseminate information.

@mielterradegoyco www.mielterradegoyco.com.ar

Ricardo, Silvana and their daughter Carolina

Colorings FOOD

Text and photographs by Sylvie Pabion

Food additives are added to food to preserve and enhance their flavor and appearance. The use of these substances is not something new; for example, the Greeks and Romans protected their fruits and vegetables by covering them with wax. What we have advanced in, thanks to science and technology, is in the creation of synthetic substances. Regardless of their origin, natural or artificial, additives are classified according to their function: colorants, preservatives, antioxidants, emollients, thickeners, and flavor enhancers. Given the topic we are dealing with in this issue, we will focus on colorants.

FOOD COLORANTS

Food enters through our eyes to such an extent that there are people who are not capable of distinguishing a red wine from a white one without seeing them beforehand. You may be surprised, try it at home with different people, and you will see the result The important role that colors play when we sit at the table is indisputable.

During food processing, some fruits and vegetables, for example, lose their original colors during cooking, and in order to restore their attractiveness, these pigments are added to them And a strawberry jam will always taste better if it looks intensely bright red instead of a dull brown

LEGISLATION

There is no international consensus on the regulation of these substances. In the Nordic countries, for example, practically all artificial colorants are prohibited, while in the United States, some of the colorants used in Europe are not authorized, but others that are not used in the European Union are authorized

In Europe, in order to allow the free movement of products between member countries, the E-number system was created This classification helps with their identification, and from now on, when you read the list of ingredients, you will know that all those from E100 to E199 are colorants.

CLASSIFICATION OF COLORANTS

NATURAL: They come from fruits, vegetables, spices, herbs, and even insects Due to their origin, they are considered safer and more environmentally friendly Some examples are:

Curcumin (E100): It is extracted from the turmeric root and is used to give a yellow color to products such as mustard, butter, jam, cheese, and bakery products

Riboflavins (E101): It can be obtained from milk, liver, cheese, meat, some vegetables, and legumes. It can also be obtained through industrial processes using fungi, yeasts, and bacteria It is used to give an orange-yellow tone to energy drinks, desserts, jellies, soups, sauces, ice creams...

Cochineal (E120): It is obtained by crushing insects from the cochineal family, specifically fertilized females, and plant parasites such as cacti. As a curious (and worrying) fact, 100,000 females are needed to obtain 1 kilogram of dye Its carmine red tone is used in liqueurs, fruit wines, candies, soft drinks, and preserves...

Chlorophyll (E140): Its green tone is extracted from grass, nettles, alfalfa, or algae It is found in candies, liqueurs, preserves, ice creams...

Paprika (E160c): Its dark red color comes from red pepper Highly appreciated in the production of sausages, snacks, pates, cheeses...

Betanin (E162): It is obtained from beet extract, and its dark red tone is used in pastry, chewing gum, yogurts, sauces, desserts

Anthocyanins (E163): They range from red to bluish-violet tones They are extracted from fruits such as black grapes, blueberries, blackberries, cherries, raspberries, purple corn, red cabbage...

SYNTHETICS: unlike the previous ones, they do not come from natural sources, they are manufactured in the laboratory and some have side effects Among them are:

Tartrazine (E102): belonging to the group of azoic dyes, it has a lemon yellow color It is present in sweets, ice creams, snacks, soft drinks In some condiments for paellas, it is used as a substitute for saffron. In small doses, it can cause hyperactivity in children and allergic reactions

Sunset Yellow (E120): this intense yellow dye is obtained from petroleum. It is used in soups, instant noodles, snacks, smoked products... In small doses, it causes hyperactivity in children and its frequent consumption can increase the effects of asthma, cause skin problems, produce insomnia and in the long term can be carcinogenic Its use is prohibited in Nordic countries

Amaranth (E123): it provides colors from red to purple and is obtained from naphthalene, a derivative of petroleum We can find it in chewing gum, candies, candied fruit Its use was banned in the USA in 1976 and in those countries where it is still used, the daily intake recommendation has been greatly reduced

Erythrosine (E127): it provides cherry red, violet or purple color and is used in desserts, ice creams, jellies In small doses, it causes photosensitivity and in large quantities, it can be carcinogenic Prohibited in Europe since 2011, except in candied fruit, maraschino cherries and cherries. It could be said that its consumption is not recommended.

As research advances on how repeated exposure to certain food dyes affects us, it is best to avoid their recurrent consumption.

About

MÓNICA MOLINA Director of Marketing and Management Team

@monicamolina photos

JULLIANNE MEDEIROS

CEO Chief director @jullianne medeiros

SYLVIE PABION Lead Designer and Management Team @sylviepabionmartin

ZACLIS VEIGA

ANA C. JURADO

LAURA BECERRA ORTIZ

Brazil Newsroom Director @zaclisveiga fotofood

Spain Editor-in-Chief @memoriasdeunamesa

Argentina Editor-in-Chief @lbofotografiagastronomica

MARTA SARRATE Editor-in-Chief @makea3

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Number 4 – March 2023

Spain - Brazil - Canada - France - Argentina

Director: Julianne Medeiros

Editorial project: Ana Cristina Jurado, Jullianne Medeiros, Marta Sarrate, Mónica Molina, Sylvie Pabion Martín

Editorial Team: Ana Cristina Jurado, Carmen Moreno, Jullianne Medeiros, Laura Becerra, Marta Sarrate, Mónica Molina, Pau Zambelli, Sylvie Pabion Martín, Zaclis Veiga.

Art director: Sylvie Pabion Martín

Design: Jullianne Medeiros, Mónica Molina and Sylvie Pabion Martín

Marketing: Jullianne Medeiros, Monica Molina, Sylvie Pabion Martin

Advertising: Jullianne Medeiros, Sylvie Pabion Martin

Editor in Chief: Marta Sarrate

Spanish proofreading: Ana Cristina Jurado and Marta Sarrate

Editor in Chief (Brazil): Zaclis Veiga

Portuguese translation: Zaclis Veiga

Portuguese review: Sandra Nodari & Jorgelene Santos

Argentine Writing: Laura Becerra & Pau Zambelli

English translation: Rebekah E Henderson

Cover photo: Sylvie Pabion Martín

Contributors to this edition: Adina Chitu, Alicja Sieronski, Ana Gómez, Bea Lubas, Bodega Teodoro Ruíz Monge, Carmen Moreno, Costas Millas, Espacio Crudo, Federika De Fillipis, Grupo Yllera, Henry Milléo, Javier de La Torre, Jaume Arnau, Juan Andrés Gallardo, Katarzina Anders, Kerry Governato, Laura Becerra Ortiz, Lorena Marquez, Pau Zambelli, Maceramika, Qosen Photo, Ronald Cova, Plaart, Rosa Maria Dalla Costa, Roseli Candêo, Sergio Cámara, The dualist Agency

*Many thanks to all the contributors who have made this issue of ABOUT Magazine so special.

Contact: info@theaboutmagazine com

ISBN: 9798356006128

ABOUT Magazine is a quarterly publication of the editorial group "The About Magazine", based in Spain The magazine is translated into Spanish, Portuguese and English

The magazine is not responsible for the concepts expressed in the signed articles. Only persons authorized in writing by ABOUT Magazine management may speak on behalf of the publication The total or partial reproduction of the contents of this magazine is prohibited without the express authorization of the editorial team

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