Vijey Mohan, Drinks Photographer
by Dan Wagner
Photos © Vijey Studio 2020
Born to bring movement to inanimate objects, restless yet drawn to the confines of tabletop photography, Vijey Mohan epitomizes the seeming contradictions of the successful modern day still life photographer/director. Known for working wonders with liquids, high-profile drink clients such as Tanqueray, Voss, and Budweiser flock to Vijey for his signature style, and ability to make seemingly impossible shots, possible. What are Vijey’s inspirations, work ethic, tricks-of-the-trade, and LA lifestyle like? Let’s find out.
DW: Vijey, how long have you been based in Los Angeles? Where in LA are you located? And what’s it like being a commercial still life photographer in LA?
VM: Well, I’ve been based in LA for the past three years. I live in Sherman Oaks and shoot from my Hollywood studio. It’s fun being able to shoot in LA. Everything I need is right here. There’s the beach, In-N-Out Burger, and no snow—I love this city.
DW: How did you wind up specializing in still life drink photography? Did you go to school for photography, and/or work as an assistant? When did you decide you wanted a photography career?
VM: Around the age of eighteen or nineteen I started thinking about photography as a career. I’ve always been a fan of Richard Avedon and I was dead set on becoming a fashion photographer. So I enrolled at Brooks Institute of Photography in Ventura, California. After a few semesters, I realized my love for still life and drink photography outweighed my interest in fashion. Slowly, I started shooting more still life during my free time at school. I also and began assisting still life photographers in and around LA to learn more.
DW: When prepping drinks, do you do it yourself or with the help of a stylist or assistant?
© Vijey Studio 2020
VM: Having a drinks stylist by my side is always a good thing. They help take a heavy weight off my shoulders. While they’re styling the drinks, I can focus on camera work and lighting. But when I’m testing and experimenting on new techniques in the studio, I style my own drinks. So it’s a little bit of both. Personally, I think photographers should learn how to style their own drinks. That way they will know what to expect from a stylist and be able to help guide them in the right direction.
DW: What are some of your styling “tricks” to make drinks look cold, bubbly, hot, and refreshing?
VM: If I’m being 100% honest, the tricks that used to work in the 80s and 90s simply aren’t good enough anymore. This is mainly because anything that’s not authentic will look artificial in camera. That’s one of the reasons I try to use real ice for drinks, and hot drinks for hot beverages whenever possible. That said, there are occasions when it becomes necessary to employ a few older tricks such as using glycerin for droplets, and fake ice during pre-lighting while my stylist gets the hero drinks ready.
DW: How do you get the perfect head on a glass of beer, champagne, mixed drink, or carbonated beverage?
VM: There are several ways to get the perfect head for beer. A really fun experiment you can try it at home is to pour a glass of beer like you normally would. Then leave some space on the top for foam. Next, drop a pinch of salt in the beer, slowly stir, and watch as the beer starts to foam. The amount of salt needed to create this chemical reaction will change depending on the beer. Therefore, you’ll need to experiment to get the ratio correct.
DW: The splash photos you shot for Tanqueray, Voss, and others are full of action and visual excitement. In terms of conception, planning, and execution, how do these shots come to fruition?
VM: For the Tanqueray and Voss shots, the goal was to focus on recreating the shape of the bottle with liquids. Super simple in terms of concept, but the execution required a lot of work. Prior to shooting liquids, I always cover applicable areas of the studio with plastic sheets. For safety, you never want liquids coming in contact with any cables and power outlets.
One time, after using more plastic sheets than usual, the studio wound up looking like the “kill room” from the Dexter TV show. It was both funny and creepy. Anyway, the trick to creating the bottle shapes involves throwing liquids at bottles, and allowing the liquid to take the bottle’s form. It’s always fun to watch each and every pour create its own unique shape. After this it comes down to retouching skills. Patience is the key. Retouching splash shots is like assembling a puzzle. To simplify the process, it’s best to make quick composites during the shoot. This ensures we’re heading in the right direction. Naturally, It takes time to make the photo look realistic, but the results are worth it!
© Vijey Studio 2020
DW: Still life photographers are known for having special devices or, knickknacks for rigging objects for photography. What thing do you use to help you get the shot?
VM: Funny question—a hot glue gun! I use hot glue guns on almost every shoot. They’re my go-to tool for ensuring objects remain in place throughout the shoot. There are other rigging devices I like to use, such as Berkey Water Systems items, fishing lines, and transparent rods.
Vijey named a 2019 OneEyeland’s Top 10 US Still Life Photographer
DW: Is there a photo that you’re especially proud of?
VM: Nope. There are a few favorites such as the “Jack and coke” shot. But I wouldn’t say I’m overly proud of it, because there’s always room to improve. That’s one of the reasons why I reshoot the Apple pencil shot every summer. Trying to improve the photo with new approaches and perspectives is an excellent learning exercise.
DW: Which cameras do you shoot with the most, and why?
I love shooting view cameras with digital backs. The camera movements, large format, and flexibility help elevate product photography to a higher level.
DW: What type of strobes and continuous lighting gear do you use?
VM: For strobe photography, I love using Profoto and Broncolor gear. And for continuous lighting, I prefer ARRI LEDs.
DW: Have you shot 8x10 or 4x5 film? Is there a place, or an interest in shooting film in your work?
VM: Yes, I’ve played around in almost all films and formats, including film, wet plate collodions, pinhole cameras, and Polaroids. It’s fun to play and experiment. But when it comes to my commercial and portfolio work, I prefer using digital technology. Perhaps film might find its way back into the commercial world. Time will tell.
DW: What are some of the differences and challenges you’ve faced when adding motion to your still life work?
VM: The main challenge was wrapping my head around the concept that it’s not a single frame. Learning the other parts of motion was fairly easy. That’s because I love learning about new gear. It all comes down to testing different camera formats and lights as a way to discover what I’m comfortable with. I often spend days at a time in the studio testing RED and Phantom cameras. I work with my DPs to ensure I fully understand every technical aspect. It’s a lot of fun!
DW: Your work has appeared in music videos and movies. Please share your thoughts on this type of work.
VM: Yes, Nick Peterson, one of my friends was working on a music video. We were both shooting in the same studio—I was at a different stage doing some testing with liquids. Noticing what I was working on, Nick asked if I could help him out with a similar shot he was working on. We wound up collaborating on some shoots. I photographed some underwater liquids for his music video.
DW: I understand you’ve working with non-profit organizations such as A Walk on Water. What did you shoot for them?
VM: Walk on Water is a nonprofit organization that provides surf therapy to children with special needs and disabilities. My friend, Kelsey Marie White introduced me to them. Wanting to contribute, I volunteered to document some of their events.
DW: How do you promote your work?
VM: I usually stick with traditional photographer marketing efforts such as email campaigns, and source books. I do this on a regular basis, and it works to an extent. But, in-person meetings are what I thrive on. I want my clients to get to know me better. Plus, I want to get to know them, understand what they’re working on, and show them what I can add to help them realize their vision.
DW: How do you divide your time between shooting, testing, promoting, and running your studio?
VM: This is a good one—I’m sure every photographer will have a different answer for this. My formula is to dedicate two days a week for testing and promotion. The remaining five days go toward research and development, meaning I read the current advertising news, reverse engineer how certain campaigns are shot, sketch new concepts, and look for inspiration on the Behance website, or Google images.
DW: What are some of the things you like to do when you’re not working?
VM: My goal is to work seven days a week. I’m the type of person who often gets bored if I’m not creating something new. For relaxation, I enjoy reading before bedtime. I just finished reading American Gods by Neil Gaiman. Sometimes I unwind by playing video games.
DW: What are some of your future goals and ambitions?
VM: Ambitions and fun are words for kids. When I was a kid I told myself I would grow up to be a huge chocolate bar. Seriously! Turned out that wasn’t possible. So right now, my goal is to continue shooting, producing the best work I can, and never letting go of the passion that brought me here. Oh, and let’s not forget—eating at In-N-Out Burger as much as possible!
DW: Vijey, it’s been a pleasure. Thank you!
VM: You’re welcome!
I hope this interview has inspired you. Thanks for visiting The Cranky Camera!