July 5, 2023 • 54 mins
Join the extraordinary food stylist Rishon Hanners, and our charming host Mica, as they unravel their stories, full of daring adventures, personal growth, and triumphant strides in the grand kitchen of life. They inspire us to welcome change, shrug off perfection, and craft our own success recipe. Let's not forget, dear friend, your journey is uniquely yours - and you're the author of your remarkable success story.
Savory Shot Shownote: https://micamccook.com/guests/rishon-hanners/ Website: https://micamccook.com/podcast Instagram: www.instragram.com/mica.mccook Instagram: www.instagram.com/thesavoryshotpodcast Would you like to be a guest on the show? Fill out the guest form, and we'll be in touch soon.
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Mica (00:00):
Welcome to the 28th episode of the Savory Shot.
What?
You're ringmaster for this wildand crazy ride, as always, is
your girl, yours truly, Mica.
Y'all, my dear posse.
(00:21):
My posse's on Broadway.
Okay, sorry.
Seriously, y'all, I'm still floatingon cloud nine after prancing
through the colorful and marvelouswonderland that was our last episode.
Y'all, was Penny De Los Santos amazing?
I just loved her episode.
(00:44):
She's so amazing.
Y'all, I could listen to Pennyforever and ever and ever,
forever, ever, forever, ever.
I told you, I'm still on cloud nine.
And based on y'all's feedback,it seems like y'all are
floating on cloud nine, too.
I've been looking at thecomments on the Insta.
(01:05):
Y'all, you loved that episode.
If you missed it, though, then boothing, you better hit pause on this
episode, dash on back, and listen.
Cause Penny practicallydropped mics left and right.
It hits a girl square in the heart.
Penny talks about creatingremarkable moments in your work.
(01:26):
She talks about hervoyages around the world.
And why New York is morethan just a place, but a love
affair that lasts a lifetime.
I swear y'all, Penny almost had mepacking my bags and buying a one
way ticket to the Empire State.
I was gonna get my, my husband,our dogs, we were just gonna grab
everything and go to the Big Apple.
(01:49):
It's the truth, I'm telling you.
But let's talk about today's episode.
Today's episode, y'all, itwas a jamboree of laughter.
That's nothing short of magical.
Meet Rishon Hanners.
Rishon is a food stylist, recipedeveloper, culinary producer, and
(02:13):
lifestyle, entertainment, and food writer.
She a renaissance woman, y'all.
She is based in Birmingham, Alabama, andworks on everything from editorials to
cookbooks, magazines, and commercials.
Now y'all, picture this.
(02:35):
What happens when two mouths ofthe South get together on a mic?
A hoot, a holler, a dang goodtime, and truths that'll make
your head nod and go, Amen!
Y'all, we ventured into everything.
We ventured into territories farand wide in this heart to heart.
(02:57):
We dissected the art of risk taking.
We talked about asking challengingquestions like, What's next?
We delved into the nitty grittyof starting out as an assistant.
And we talked about the monumental lifelesson, embracing the two letter word, NO.
N O.
(03:19):
Be it the one you receive,and the one you have to give.
But, before we get into allof that, let's start the show.
(04:07):
I want to start off first by saying, hellyeah, you're here, and I'm super excited.
I have been waiting for this interview.
It feels like there's an actof nature that got in the way,
jury duty that got in the way.
And now there's nothing stopping this,so I just want to say thanks for rolling
(04:28):
with the punches and for being here.
Rishon (04:30):
Yeah, totally.
I mean, life happens.
What can you do?
You just keep going.
Make it happen.
Mica (04:35):
Exactly.
Exactly.
Man, the most infuriating thingabout the jury duty is that
it never freaking happened.
I got an email the day before,after I rearranged my whole life
and they're like, guess what?
The trial is canceled.
And I'm like, it's likeyou sons of bitches.
Rishon (04:57):
I'm such a nerd.
I had jury duty one time and I spentthe whole day in like the holding room
where you wait for them to call you.
Sometimes you get dismissed before theyeven get you into the court and I did.
It was like after lunch.
I had a lunch break.
I had made new friends andthey called me at like two
o'clock and I was like so ready.
(05:18):
I was like nerding out.
I was excited.
And they were like, ohyeah, you're dismissed.
And I'm like,
Mica (05:23):
Wait, we bonded.
Rishon (05:25):
Maybe it's just because I'm nosy, like, a little curious, like, I was like,
I just wanted to be a part of something,and then you would get out of work for an
extended period of time, and maybe it wassomething that would go on for like weeks
at a time, and you were really invested.
I imagined it being much more storybookthan it was, and then it wasn't, and
then it was over, and I felt like myopportunity at jury duty was like the
(05:47):
rug pulled out from underneath me.
Mica (05:49):
The first and only time that I ever served on jury duty,
it went on for six months becauseI was part of the grand jury.
Rishon (05:58):
That's very intense.
Mica (05:59):
It was a six month commitment.
And I knew they were going to pick me.
I knew, I knew from the bottom ofmy soul they were going to pick me.
The second time I was waived outbecause I was in school, and then this
time, it got canceled the day before.
But, I want to get startedbecause I've got...
so many things to ask you.
(06:20):
As you can tell, the two of us couldcut all day long about everything.
Like, we talked about, snowcones, and my love of Sonic.
This is gonna be a bomb conversation.
I'm so excited, but I want tostart off with your background.
You have a journalism degree,you have an associate in culinary
(06:40):
arts, and those are two veryinteresting backgrounds to come from.
How has your journalism andyour culinary arts degree
assisted you as a food stylist?
Rishon (06:53):
Journalism really started out for me because I just was a really
great writer in school, and I lovedEnglish, but having a creative writing
major or having an English major justdidn't seem practical, and, I was a
political science minor to begin with,and that lasted for all of one semester.
(07:15):
Then I swapped to a com studies minorjust because I'm a nerd and I love it.
Eventually when I transferred froma community college to University of
Alabama, where I finished my degree.
I did do some particular, what is theword, course studying for food writing.
So I had a couple professors that haddone food writing, food journalism in,
(07:39):
in their professional careers and tookclasses with them and that was just great.
I also took some food science classeswithin the restaurant hospitality
school, so it wasn't really a partof my curriculum, but I knew that's
what I wanted to shift my focus to.
Before I even graduated with mybachelor's, I was already in the mentality
(08:00):
of like, I'm gonna go into food media.
I wanna do cookbooks.
I wanna do magazines.
After getting my bachelor's that'swhen I applied for culinary school.
I was like, okay, the next stepsrealistically are to go to culinary school
and hone these skills and get my culinarydegree because a lot of these places
that I want to work for, that's whatthey, that's what they're looking for.
(08:21):
Culinary school was the footin the door for my internship
that turned into my career.
I moved from Alabama to Denver,Colorado to go to Johnson and Wales
University, which is a private college.
That they allow students to come in thatalready have bachelor's degree and they
can be on an advanced degree program.
(08:42):
So I was able to do a two year culinarydegree in one year, which was fantastic.
I was pretty much in labs the whole time.
I only had to take a couple likelecture courses, which was really sweet.
And it was in one of those lecturecourses that I actually was taking
that they did a demonstration for,uh, the internship or externship
(09:05):
after your time at school was over.
I was familiar with the fact that somebrands like Southern Living were in
Alabama, in Birmingham, and so a girlthat had graduated just a few years
before me was an intern with the parentcompany at the time was Southern Progress.
(09:26):
And I was like "Oh my God, that's it."
That's it.
I don't want to be an executive chef.
I don't want to do anexternship at a restaurant.
I was like the only person in my culinaryclass that was like wanting to do
anything different other than be a chef.
So, that got me in touch with a director.
(09:50):
At the time for their cookbookpublishing branch, which was called
Oxmoor House, now has folded, but, shewas in charge of the test kitchen and
the food styling, the food photographydepartment, and literally was my
ticket also home being from Alabama.
So I took a couple trips down.
(10:12):
The first time I came down was myfirst time visiting the studio.
It was, amazing one have been in Coloradofor about eight months at this point.
And anybody that has traveled fromthe Midwest and has also done some
traveling in the South will knowstark contrast and the scenery.
So it was like being dropped offin a tropical oasis all over again.
(10:34):
And I was like, thank God forthe green and the trees and
the water and the mountains.
The campus is tucked kind of inthe woods, in Birmingham, it
neighbors a Sanford university,which is another private college.
I walk into this building.
There's like a babbling creek, and likerocks, on, on trees, and, and the, like
(10:58):
the whole building is made out of windows,and I'm just standing in the lobby and
I'm just like, Holy shit, is this real?
Is this real life?
The director comes and gets me.
Her name was Grace Parisi and she usedto be the test kitchen director for
Food and Wine and then became the testkitchen director for Oxford House.
She was 5'2 and I am 5'11 andshe was like, wow, you're much
(11:25):
taller in person than I expected.
And I was like, you're muchsmaller than I expected.
But, uh, we hit it off.
We both have.
Big personalities.
She just kind of took me around inthe studio, , and the studios at the
time were very basic, various homeec feeling type kitchens, like it
did really mimic someone's kitchen athome, which I guess it was the whole
(11:50):
point of things for such a long time.
I remember there were a couple sets goingon that day and we just peeked in on one
and I, I really didn't pay attention towhat was going on, but of course you see
all the camera setups, you see the, thestrobes and the lights and the C stands
and the camera on the giant tripod.
I'd never seen a tripod that big before.
(12:10):
Then we go downstairs to another set.
She's like, uh, and this is the set we'reworking on this particular book, and
I, I can't remember what book it was,but I do remember it was Thanksgiving.
So there was mashed potatoes, anddressing, and sliced turkey breast on the
plate, and the food stylist on the setwas like, I've got to take this phone call
(12:32):
and she's telling this to Grace and she'slike, I've got to take this phone call.
And she was like, okay, what's going on?
She's like, I just need to putthis gravy on this Turkey and then
top it with like chopped parsley.
So Grace is like, oh, okay, cool.
Yeah.
So she like takes thegravy in a Pyrex glass cup.
She's like, so we basically are justusing, like, for food styling, like, it's
a packet of gravy, so that way that youcan make it as liquidy as you want it, or
(12:56):
as thick as you want it, and that wholething, and she's talking to me about it,
and she takes the gravy, and she poursit over the slices of turkey, and then
she takes the parsley, and she's likeshowing me, she's like, we don't chop
it with a knife because it bruises it.
And I just left that day feelingtotally starstruck and totally in awe
and yeah, like literally a month laterthey were like, do you want to come?
(13:21):
And I was like, hell yeah, I'mhomesick AF, get me back to Alabama.
I got to go home, you know?
Like I said, it really was my ticket home.
I ended up interning withOxford House for six months.
The majority of what I did as anintern, honestly, was grocery shopping.
Not going to lie.
(13:42):
I was a grocery schlepper.
I knew the in and out of everysingle grocery store in Birmingham
and knew most people by nameas well, which is a big plus.
And then Time Inc boughtSouthern Progress, and so we
merged into one food studio.
So all of the brands were underone umbrella and the food studio
(14:02):
got a huge upgrade and the kitchensare much more, what'd you say?
Professional.
There have been a kajillion buyoutsand mergers in this world of food
publishing over the last seven years.
And that is actually where I am now.
So I still come back and dosome freelancing with them,
and they're a great company.
Mica (14:21):
The way you describe that building.
That sounds like the perfect day, and thento like, walk into this magicness that's
happening and just watching Food Stylist.
And how premeditated a lot of things are.
Rishon (14:35):
It's extremely premeditated.
Yeah, it's really amazing.
And I'm really thankful that Ilanded in food styling versus recipe
testing because it is totally likeI know that sounds cliche, but it's
like left brain right brain and I ammuch more creative than I realized.
(14:56):
If I was just taking notes for a livingand measuring things and having to
like, follow rules, like God forbid.
Um,
I really was initially disappointed thatI wasn't doing testing and developing and
then once I realized the natural knackI guess I had for food styling, I was
(15:18):
like, this is where I'm supposed to be.
Mica (15:21):
It's perfect that you chose food styling as a career because as a writer,
you know the descriptive words thatyou want the viewer to feel and think.
That is like such a skill tohave this vast bank of descriptive
adjectives to draw upon.
Rishon (15:42):
That is true.
If you're someone that consumes alot of media, then you generally
have a higher knowledge of whatyou, as a consumer, are looking for.
And, and that's a huge part of it.
What do you want to see when you'relooking at these food photos?
(16:02):
If you're styling a particular dish or aparticular plate or a particular protein,
what is it that you want to see from thisthat's going to make it most appealing?
Mica (16:12):
Hmm.
I did a mentorship a few years ago.
One of the things that we worked on waslike color theory and unintentionally it
turned into a project about feelings andfinding what makes a feeling a feeling.
We'd pick a next project and I'dsay, well, I want to create something
(16:32):
that's really happy and bright.
She's like, well, what is happy?
I'm like, Oh, what, well, what is happy?
That's a great question.
She's like, more importantly,what makes a happy photo happy?
What elements in a photomakes it a certain emotion?
Rishon (16:48):
It is so interesting because even just when you gave the example of a
happy photo, like the first thing thatpops in my mind, and it's so interesting
to have that sort of instinctualreaction, like when somebody says that,
and for me, it's like, orange, the colororange, citrus, like literally oranges.
(17:10):
Also just like, like a, like sort of awarm palette, but like, but like warm
yellows and, and, and warm arches and evensome like warm nudes or warm peach colors.
And other like fresh fruits,like maybe some like, Pomegranate
or something like that.
When you work in this industry andyou literally are cranking out product
(17:34):
that is not necessarily what you wouldcreate as an artist or a creative.
It's important to hark back to thatand do sort of creative things outside.
So a lot of the times thegroups of creatives that we
work together, the teams.
Photographer, prop stylist, food stylist,they'll get together and they'll do
(17:57):
these just like fun, creative shootsand a lot of the times it is those sort
of like bases that kick things off.
You're like, what are we looking for here?
Well, you either have a piece thatsort of inspires you, or a word that
sort of inspires you, or a patternthat sort of inspires you, like just
whatever the thing may be, and thenyou just sort of like fill in the
(18:17):
blank and just create something.
Mica (18:20):
So I want to take it to my next question.
I hope I didn't weird you out when Iwas like, I'm gonna stalk your life
because I literally stalked your life.
On your Instagram.
I loved all the quotes that you put upand one of the first articles that you
featured on your Instagram in 2013.
It was like a picture of Atlantamagazine and it was of your
(18:43):
former boss, Jennifer Levison.
What I want to know is who is sheand how did she inspire you then?
And how does she inspire you now?
Rishon (18:53):
Well, that was the year between my two stints in college.
That was my hiatus year.
I moved to Atlanta actually,where my older sister was working
at the time for the same woman.
My sister was the executive chef ofJennifer Levison's restaurant group,
which still exists, in Atlanta.
(19:14):
It's called Super Jenny, S O U P E R.
Um.
I love that.
I know.
Mica (19:20):
That is so awesome.
Rishon (19:22):
So I had a, I really did enjoy my time there.
Jenny is absolutely an inspiration.
Then at the time I was 23, I think.
It was so refreshing to step intoan environment, with a woman owned
business, an entrepreneur who did notstart out in this, in, in restaurants,
(19:49):
her background was in acting.
She went to Carnegie Mellon.
She started cooking basicallybecause you don't really make a lot
of money just acting all the time.
So she started restaurant based onone of her recipes that is still
like literally on the menu all thetime is her dad's turkey chili and
(20:11):
they call it My Dad's Turkey Chili.
The restaurant does soupsalads and sandwiches.
It's very like European cafeteriastyle where you like walk in.
And you just order at the counter andeverything's sort of like out on display.
Everything was fresh.
When she initially started the businessshe hired mostly actors and actresses.
(20:32):
So a lot of her friends,a lot of her peers.
We're talking like 20 plus years at thispoint and she's got multiple locations.
She has a catering business.
She has a nonprofit.
The thing that inspires me the mostabout Jenny then and now is just
that she is so authentically herself.
(20:52):
She still acts every year.
She does like a, like a one woman show.
She'll do a couple othersmall shows with, with people.
It was just the first time I think that Ihad ever been introduced to someone that
was just so unapologetically themselvesand cared about her people so much.
(21:15):
She definitely created the tribe aroundher, not just with like in her restaurants
with the people that she employed, but,but her, her literal tribe, her community.
But my time in Atlanta was whatkicked me off to go to culinary
school because it really did haveme asking the what's next question.
(21:38):
Between my time at school.
It was like, okay, yeah, you're doingthis now and you're getting a lot from it.
And it's awesome.
But like, what's next?
I do have to say that that wasalso because of the people that
were around me at the time.
They were like, what're you doing?
What's next?
Where do you want to go?
What do you want to do?
And I'm like, that's areally good question.
(22:00):
I guess, I guess I kind ofneed to figure that out.
That is something that followsyou throughout life is like, there
are plenty of times where you'rejust like, what are you doing?
What's, what's next?
Not to take away from the momentof where you are, but what's next?
Especially when there's any sortof angst or there's any sort of
(22:22):
like, uh, wishing and missingand, and dreaming and scheming.
You're just like, okay, well,what are you going to do about it?
So it was definitely apivotal time in my life.
And I'm grateful for the push forwardand the inspiration that she gave me then.
She and my sister arestill extremely close.
(22:42):
So she's definitely just like apart of our family in a way, and
I'm grateful for her presence.
Mica (22:48):
Something that you mentioned that is so true, cause I'm former,
my background's in, in theater.
I went to school for theaterthe first time but the thing
about theater people is that wedefinitely take care of each other.
And I've noticed this in thephotography community too.
But what I really liked isthe what's next question.
I'm big on New Year's Eve's resolutions.
(23:11):
At the end of every year, I'mlike, man, I accomplished some
wonderful things this year.
What's going to happen next year?
That's a question that I don'tthink enough people ask themselves.
Rishon (23:23):
People probably even just quietly ask themselves that a lot, but it really
is the answer that is frightening.
Maybe it's not even the answer.
It's just the unknownof what it would take.
It comes with risk and changeis always scary and hard.
I don't think you ever really get over it.
(23:43):
You just get a little bit more assuredthat every time you do, you have taken
that risk and you have made that leapand, and you've gone for the change.
That it has served youand it's worked out.
Mica (23:55):
Do you remember a moment in your career where you felt for the first
time, "Wow, this risk is paying off,this direction, the what next for me?
It's happening.
Rishon (24:06):
Immediately after that.
After Atlanta, moving to Coloradoto go to culinary school.
That was a huge risk.
I like, literally movedaway from everything I ever
knew and everyone I loved.
My, my then partner, now husband, and Imoved together, which, thank God for him.
(24:28):
But that was a huge leap of faith.
That was a huge risk.
That was a huge chance.
We had a great time.
I worked my ass off and it haspaved the way for everything
that has happened ever since.
I really do attribute it to thatmoment that I was like, we're just
going to rip the bandaid, you know,we're just going to do the damn thing.
(24:51):
What else?
What do you have to lose?
Really?
What do you have to lose?
Mica (24:56):
Extending further on the, what do you have to lose?
It's what are you okay with losing?
Because when you take on somethingnew, when you make a change,
when you add something new intoyour life, something has to go.
Anytime I take on any sort of project,I look at the projects that I have
going on in my life right now and I'mlike, okay, this new thing that I'm very
(25:20):
excited about, I'm going to have tolet go of one of these things because my
attention can only go so many directions.
So what am I okay with losing?
What do you got to lose andwhat am I okay with losing?
Rishon (25:33):
I would even go one step further and say, " But
think about what you could gain.
Think about what couldbe on the other side.
The reason that the thing is even floatingaround inside of you in the first place is
because there could be, and probably is,something great waiting on the other side.
Mica (25:55):
Ah, I love that.
I love that.
Another thing I noticed on your Instagramyou seem to have a lot of affirmations.
I have my, my affirmation of the dayand I think it's a pretty in par of
what we're talking about at the moment.
It says, "Take a breath and keep going.
Isn't there a chance of beingsurprised by what happens next?"
(26:17):
by Barbara Brown Taylor.
But one of the, I guessit's a mantra quote.
I don't know.
It says, you may not fully understandthe cycle that you're moving through.
But trust that you are moving, you may notunderstand why letting go is so important,
yet let go you must, this watery,intuitive moon is not about logic, so let
(26:39):
go of logic and open your heart to trust.
What did you let go of that helpedyou move forward in your career?
Rishon (26:48):
I love that quote.
Even still, like, listening toyou read it, it totally gives my,
me like, full body goosebumps.
Because it means somethingdifferent every time you read it.
We are constantly going through differentcycles and constantly probably faced with
letting go of things that we have beenholding on to for too long or too tightly.
(27:10):
Definitely the thing that I hadto let go of with my food styling
career was perfectionism and control.
Obviously still somethingthat I, um, battle with.
I don't know that that's ever anythingthat has just evaporates from someone
if they struggle with those things.
(27:31):
But, I was very uptightwhen I started food styling.
Everything was very meticulous andvery perfect and very perfectly placed.
I was so lucky to be able towork with some really fantastic
food stylists as an assistant.
(27:52):
But then also when I started food stylingon my own, I worked with some really,
really great photographers that mentoredme and coached me and encouraged me
to essentially let go and loosen up.
It seems like just a crazy thing, butone of the things that I really would say
(28:12):
is, I'm proud of in my style or that I'mwell known for now with my styling is how
organic and natural my food styling is.
So.
Mica (28:22):
When you said letting go of the perfectionism, I can
relate to that feeling so much.
When I first started in food photographyor just photography in general, I
was so afraid of doing things wrong.
Rishon (28:36):
My heart goes out because I see so many young kids, teenagers, young adults,
and they struggle with the same thing.
And I tell you when it clicked for me inmy work, it also clicked for me in life.
Mica (28:55):
That's gonna be the word for May.
Listen, let go.
So I, I want to veer it tohow I first learned of you.
I want to tell you two things aboutthe, about this because one, I think
you will get a kick out of this story.
And I forgot what the secondone was, but maybe it'll pop up.
(29:17):
So your video about, how tostyle cocktails and beers.
I found that video back in 2020.
I was doing the mentorship andwe were doing, cocktail drinks.
The first shoot I did, I presentedit to my mentor and she was just
like, I feel like you can do a lotbetter than what you presented to me.
She's like, why don't youzhuzh up your cocktails?
(29:39):
And I'm like, I don't know how to do that.
She said, well, go do your research.
And so I did.
And I found your video and itcracked me up so much, so hard.
The story where you were talkingabout like how you dipped your
finger in the drink and you tastedit and the food stylist was like,
uh, you need to go spit that out.
You just tasted chemicals.
Rishon (30:01):
God, it's such a terrible habit and I still do it.
I still do it.
I still lick my fingers.
I will literally give myself a stomachacheby the end of a shoot and eventually
my assistants caught on and said,they'll just be like, here's a towel.
Mica (30:18):
For context, y'all, first of all, go watch that video.
If you want to learn howto style cocktail drinks.
But in the video, Rishon talksabout how she has a habit of tasting
drinks and she tasted this drink thathad like fake ice and everything.
Rishon (30:36):
Yeah, it was a, it's an ice powder.
Which is essentially, this isgoing to sound gross, but, and
I may mention it in the video.
I can't remember, but it'sbasically like silicone.
So the ice powder product that a lot ofpeople use for food styling is the same
absorbent product that is in diapers.
(30:57):
If you've ever seen, because I knowyou have, if you've ever seen a wet,
soggy diaper, probably from the rain,out on the street that's been run over
and it looks like there's all thislike mushy stuff that's come out of it.
That is essentially the same thing.
So what I did was mix up some syrupbecause it resembles shaved ice
(31:23):
or, really finely crushed ice.
So that the frozen drink wouldhold on set for a long time.
And I tasted it and the girl was like,and this is when I was assistant,
she was like, "What have you done?"
I was like, I don't know, what did I do?
She was like, you need togo, like, poison control.
(31:45):
Which of course I didn'tingest that much of it.
But she was just like,no, like not, don't do it.
That was one of the first times thatI'd ever really been introduced to using
a chemical substance in food styling.
Mica (32:00):
You might want to call the poison control center,
because you just ingested poison.
Rishon (32:05):
Poison.
Essentially.
Consumed in, in large amounts.
Definitely.
A little finger lick, probably not goingto hurt me, but I learned my lesson.
Mica (32:15):
Don't want to test it, though.
Don't want to test it.
Rishon (32:21):
I may be a perfectionist at heart, but I do not have fantastic habits.
Do as I say, not as I do.
Mica (32:31):
Do as I say, not as I do.
I say that all the time to mynieces, do as I say, not as I do.
I want to tell you about arecent event that happened.
I did a portfolio shoot andit was like fake whiskey.
I used soy sauce and water.
And I put up the picture on my personalFacebook and the picture was banging.
(32:53):
and my friends and families arelike, ooh, and awe, and they're
like, Oh, I want a drink of that.
My husband, one of his friends, hisbest friend, Gerard, he was like, I
want you to make that drink for me.
And I told my husband, I was like,should I just pour some soy sauce
into water and be like, here you go.
Rishon (33:10):
That would be a hilarious prank.
Mica (33:14):
And Aaron was like, nah, and he goes, don't say anything.
Just let people admire it.
It's a beautiful photo.
They don't need to know thatit's soy sauce and water.
I wanted to tell you that cause I thoughtyou would appreciate the soy sauce and
water and everyone going, Ooh, I wantthat whiskey drink that you just made.
Rishon (33:31):
Especially working in like a big studio where there's all kinds of people
walking around all the time and peoplethat aren't necessarily a part of a photo
set, they definitely see things thatthey think are very appetizing looking
or really yummy and they're just like,"Oh my god, I gotta get some of that."
(33:51):
And they're like, "Well, thisentire casserole is filled with
paper towels or like this entirething is stuffed with plastic."
While a lot of things we do arereal there is no point in wasting a
perfectly wonderful pour of whiskey.
(34:13):
Just fake it till you make it.
It's fine.
Mica (34:16):
When I meet people and I tell them, Yeah, I do food
photography, yadda, yadda, yadda.
And they're like, Oh, I betyou get to eat everything.
And I'm like, You know, when you're onset and it's a big set, there's like
30 hands touching food and everything.
Rishon (34:30):
The answer is no, and you don't really want to for a lot of reasons.
The amount of hands that have been onit, the plates that it's been on, the
amount of time it's been sitting out.
Also just the amount of timeyou've been staring at it.
You don't want to fool with it.
Mica (34:48):
One of the things you say in your video intros, consider me a makeup artist
for food, and I feel like that is theperfect analogy, perfect description
of food stylist and what y'all do.
My question for you is what's the mostcommon misunderstanding that new food
photographers have about food stylists?
Rishon (35:11):
It's the same misconception that there generally is, which is that food
stylists work primarily with fake food.
And of course, like, our previoustopic that we were just discussing
does not give us much credit forthe fact that we use real food.
Everyone has seen the BuzzFeed video.
(35:31):
It was about motor oil aspancake syrup and God, I don't
even know all the other things.
And of course my food styling videosdid have a huge push for some for fake.
A lot of that was the draw of, and thewow factor of what that would look like,
and some of that is true, but I would sayprimarily food stylists use real food.
(35:58):
Whether you're editorial, so you'reworking with magazines or cookbooks
that are actually publishing recipes.
Or you're working for a foodclient, like a fast food chain or
another restaurant chain, doinga commercial or a static photo.
For advertising, that is areal product that they are
(36:19):
wanting to sell their customers.
And so it's very important thatthat is portrayed to them correctly.
We are long past the days of puttingin fake food, which I do have to say
is much more exhausting and difficultthan it is to use the real food.
Real food can be, like, it'stemperamental, but it also can be
(36:42):
manipulated and replaced and youcan refine it and, and tweak it.
Why do people think that you spentan ungodly amount of hours at some
craft store to make a fake turkey?
Like, no, it's a real turkey.
How?
What would you come up with?
Is it plaster?
Like, I really can't imaginewhat that would be like.
(37:05):
But we're food stylists.
That's what we do is we workwith food to make it the best it
can possibly be in a visual way.
Mica (37:18):
Absolutely, absolutely.
I've told people outside of the industry,legally, whatever brand I'm working
for, we have to use their product.
Everything else can be manipulated and itmakes sense financially and logistically
to keep just the toppings of a whatever.
It's not just about ethics, it'salso, the law, and, and they
(37:40):
didn't know that, they're like, oh.
Rishon (37:42):
It's also important that people know that like these food
brands are not trying to hoodwink you.
Yes, it is a food stylist that ismaking it commercial ready and,
and making it look so good in thosemoments that you're seeing on your
screen or in a paper advertisement.
But the product that is being used is 100%the product that these places produce.
Mica (38:09):
So, you've done food styling from print to digital, for video.
I don't know if there's a huge differencebetween digital, video, and print, but
if there is, how does your approach changebased on what medium you're working with?
Rishon (38:27):
I have to be honest, it really doesn't.
It really doesn't change.
I approach everything the same.
I'm very open minded.
I just am very clear aboutwhat the client wants.
And what is being asked of me and my team.
Those, to me, that iswhat is most important.
(38:48):
Thankfully, there is a whole other partof the team that worries about camera
angle and shutter speed and whetherthings are flying through the air or not.
And I just need to know how much ofsomething I need to make and the
angle in which it's being presented.
Because a lot of the time, like the foodthat we're styling for static is going
(39:09):
to be much more heroic and beauty andthen the things that are being styled
for video they do not need to be perfect.
Mica (39:16):
That makes so much sense.
What advice would you give to aspiringfood stylists or you know, if someone
wanted to come to you for mentorship,what approach would make you go, Oh,
okay, let me pay attention to this person.
Rishon (39:32):
Just reaching out in general is enough gumption that they would
definitely stand out in my book.
That takes a lot to send an email.
Don't message through social media.
Go through the properchannels, do be a professional.
Email obviously is best.
And do some research.
The hardest thing I think is location.
(39:56):
Unfortunately, a lot of our industryis central around urban centers.
You can't be in New York and want to bea food stylist assistant and reach out to
me who works primarily in the Southeast,out of Atlanta, Nashville, Birmingham.
And say, Hey, I'd loveto assist you sometime.
(40:16):
Well, baby girl, I'm notgoing to fly you out here.
If you're in Atlanta, then yes.
That sort of thing.
You reach out to who's, who is near you.
And if you're not in an area thatcan be networked in it, that might
lead you to another opportunity.
So even if your first foot inthe door is not as a food styling
(40:39):
assistant, get your foot in the door.
You could even offer.
Of course, everybody needs a paycheck,but, but you can offer your, your time
as a stage, which is like an unpaidtype of internship, and hopefully
it would lead to something else.
Ask for a cup of coffee, or a chat, a Zoomchat, or if you do have the opportunity
(41:00):
to meet up with someone in person, justsay, Hey, I'm interested in potentially,
doing this as a career and pursuing this.
Can we just talk?
Because I think a lot of peoplewould respond to that more than
they would just jump on theopportunity of you sending a resume.
Just put yourself out there.
That's the biggest thing.
(41:21):
It's the, it's the biggest, boldest,and most brave thing that you can do.
Mica (41:25):
When you take on an assistant, do you want them already taught
and knowledgeable or do you liketo teach them how you like things?
How novice can someone be andbe an assistant to someone?
Rishon (41:40):
That's a really great question.
It's extremely helpfulto have the foundations.
If you've never used a knife before.
This is probably not the bestplace to start because I don't
have time to teach you how to cook.
Now, I will teach you how toperform certain knife cuts.
(42:01):
I will teach you how Iwant something prepared.
And eventually you learnwhat your food stylist likes.
You're flexible in that way.
You become sort of a chameleon.
You're able to adapt.
Be patient and listen and let themexplain to you what it is they're asking
and they won't have to show you anymore.
Eventually, you'll just know exactlywhat they want when they say it.
(42:24):
As an assistant, there, there is alot of like molding that happens.
That's across the board with any foodstylist that an assistant works with.
Every food stylist is different.
Now, I would say that there are definitelypeople for certain jobs that I go towards
(42:45):
more because as a food stylist, I'velearned what assistance, which assistance,
helps me, the best under certaincircumstances and with certain projects.
It is the food stylist's jobto be good at everything.
It is the assistant's job to justbe support for the food stylist.
(43:06):
It is never the food stylistassistant's responsibility or
fault or, weight to carry.
It is the food stylistthat carries the weight.
So with that being said, you, as anassistant, you want to be versatile.
You want to be available, openminded, flexible, but, you
(43:28):
do not have to be an expert.
You've got to come in with certainskills, the basics for sure.
And you've got to have agood head on your shoulders.
Mica (43:38):
All of that.
Spot on.
I could not, especially whenyou said that you have different
assistants who provide a differentkind of support and that determines
like who you're going to bring on.
Rishon (43:52):
Listen, sometimes I work for a client that I'm just like, I know
this client is very intense to workfor, and sometimes I just need that
assistant that I know is just gonna,not even the fact that they know
how I want the tomato slice, it'sliterally just the fact that their
energy makes me more calm and centered.
Mica (44:15):
Absolutely.
What advice would you give to noviceswho are maybe scared or intimidated
to reach out to someone that theyadmire or maybe they don't have
the basics and they're like, Oh,what if they say no type of thing?
What advice would you giveto someone fearing that?
Rishon (44:36):
They're going to say no, just be prepared.
If it's not this person, it'sgoing to be somebody else.
And if it's not somebody else, it'sgoing to be later on down the road.
Life.
That is just the way it is.
Unfortunately, getting over that fear andthat hurdle and that intimidation because
(44:57):
the industry especially is unforgiving.
And, and we don't have time forpeople that wait and are too
intimidated to move forward andtoo intimidated to take a chance.
I will also say that,We're all just people.
(45:18):
And we're very graciouscommunity of people.
And we've also all been in your shoes.
So try not to be so intimidated becauseit feels like that's just holding us to
a standard that we really can't live upto because we're just here doing jobs.
(45:39):
We're just here creating.
We're just here living our life.
Don't put so much pressure on yourself.
If this is something that you'rereally passionate, and that you
really want to go for, just go for it.
And don't be deterred when peoplesay no, because that is inevitable,
but it won't always be the case.
(45:59):
If you don't know what directionto go in, ask for advice.
And see what people say, they arealways happy to give advice, even
if they can't give you a job.
I have had many a person reach out tome and even if I couldn't be the one
that they assisted or worked with.
(46:21):
I always was most of the time able toconnect them to someone else in the
industry that I'm that new needed helpor a job opening that I'd heard about.
It was just a couple years ago thatI connected someone that reached out
to me with the internship that I didwhen I got out of culinary school.
(46:43):
She was a recent graduate, and had goneinto finance and was questioning whether
or not that was what she should have done.
She was like, I just love food andit's just a huge passion of mine.
I don't know if I made the rightchoice and I was like, there's only
one way you're going to find out.
(47:03):
So here's this opportunity andyou either take it or you don't.
And she took it.
And she ended up going backto finance, but that was it.
Now she knows.
And she reached out to me andsaid that it was an invaluable
opportunity and it changed her life.
Even though she is going back tofinance, that it was probably the
(47:25):
best year and a half of her life.
And it gave her a lot of perspective.
You just never know until you try.
Mica (47:33):
Yeah.
You've raised such a great point about,you may try something, you may realize
that it's not for you, and you go backto the very thing, and that is okay too.
Rishon (47:44):
It's not a step backwards.
Mica (47:46):
Yeah.
And it ties back to what yousaid earlier about letting go.
At least now you know, let'ssay you do this one thing and
it just isn't your cup of tea.
Then that's fine.
At least now you know.
You won't go five years down the roaddoing the woulda, coulda, shoulda,
what if I had done it, my, and thenif like something bad happens in
(48:07):
your life and you're like, well,damn it, I should have done that.
Like, you don't have to secondguess because you tried it and it
didn't work out and that's fine.
Also, I like what you saidabout hearing the word, no.
I had to change my mindsetabout hearing the word no.
Because I hear the word no, at leastin the past, I'd hear the word no,
and then I'd go, okay, I tried,and they said no, and I guess I'm
(48:30):
just gonna go fuck off somewhere.
Hearing the word no doesn'tmean it's no forever.
Rishon (48:35):
Correct.
Mica (48:36):
And it does hurt to hear no.
Rishon (48:37):
It is.
It's super hard to hear.
It's also very hard to say no, notjust from the perspective of like if
a novice is like reaching out to youor someone who wants to get into the
industry and you have to say, no, Idon't have an opportunity for you.
It's also hard to say no tojobs that may not serve you, or
(49:02):
may conflict in your schedule.
Mica (49:04):
As I go further in my photography career, I've learned
saying the word no is necessary.
Especially to clients that theirbudget, it's just doesn't work for me.
And maybe they're a great client, butrealistically they can't afford me.
And that's a hard thing to accept.
I have two more questions for you.
(49:26):
You have been in this industry for almosta decade, and that's longer than most
relationships, you know, most marriages.
You answered earlier about whatfirst excited you about food styling.
What I want to know is two things.
(49:46):
How does it continue to excite you today?
Nearly 10 years later, whatanchors you to this profession?
Rishon (49:53):
I have to say the industry has taken many different forms since
I have been a part of it, and I havebeen through what feels like a lifetime
of changes within the industry.
Anyone that sort of hasfollowed food media.
And especially in print capacity,which is what drove me to be a
(50:17):
part of the industry to begin with,there's just not much of that anymore.
Cookbooks are still, big and farreaching and everyone's got one.
But as far as magazines go, that has verymuch dwindled and all has become digital.
So for me, it's been about flexibilityand growing and expanding my
(50:43):
talents, which is always somethingthat I have been driven to do.
I am doing a lot more recipedeveloping these days.
Social content creation,culinary producing.
So I'm doing more of like actualproduction work prior to photo shoots.
I actually have been doing more writing,which when I was a full time food
(51:08):
stylist, before I went freelance, thatwas just not really in the cards for me.
Now I wear a lot of different hats,so I would say that has been what has
kept me grounded is that change isinevitable and being brought up in the
(51:29):
journalism industry about the time thatI was, that was what they were preparing
us for was the collapse of print.
And as doomsday feeling as thatwas, and as much as I dreaded it.
It has served me in the sense ofthings will always be shifting,
(51:53):
things are going to continue to shift,and we just have to pivot with it.
I hate to come full circle on you,but, the what's next question.
You know, what do you wantyour life to look like?
What's next for you?
Like, is this it?
(52:14):
Is this, is food styling it?
Is food photography it?
And for me, that question was, hell no.
I am that and so much more.
And I can do all of it.
And be versatile.
And market myself in amillion different ways.
There's no telling whatthe next year has in store.
(52:38):
For me personally, but thenjust our industry in general.
Mica (52:42):
Yeah.
I love that.
I want to close out today's interviewwith what do you hope the listeners
take away from, from today's interview?
We've talked about so much.
Rishon (52:53):
I know.
If I'm going to be, jaded, notjaded, that's not the right word.
If I'm going to be, conceited, Iguess, I would hope that they find
it inspiring and they are ableto take away some things from it.
For sure.
Mica (53:09):
Where can the listeners find you and support you and fangirl
over you and her fan person.
I don't know what everyone's pronouns are.
So I'll just say fan person over you.
Rishon (53:19):
Well, I am on Instagram.
My handle is at RishonMarie, and I have a website.
It's RishonHanners.
com.
Those are the best places to find me.
You can still see all of my foodstylist versus videos on YouTube.
That was during my time with,with Meredith Corporation.
(53:42):
The YouTube channel is well done.
It seems like an entire lifetimeago, but they're still really
fun and really relevant and veryinformative and obviously entertaining.
If you're reaching out, on a professionallevel, send an email, but like,
if somebody has a question or justwants to give a shout out, on social
media, I'm totally cool with that.
Mica (54:03):
Thank you so freaking much.
Rishon (54:06):
Thank you for having me.
Yeah, this was really fun.
Mica (54:09):
Yes, I had such, such a blast with you.
Alright, I've held you hostage forlong enough, so thank you so much!
Bye!
Welcome to the 28th episode of the Savory Shot.
What?
You're ringmaster for this wildand crazy ride, as always, is
your girl, yours truly, Mica.
Y'all, my dear posse.
(00:21):
My posse's on Broadway.
Okay, sorry.
Seriously, y'all, I'm still floatingon cloud nine after prancing
through the colorful and marvelouswonderland that was our last episode.
Y'all, was Penny De Los Santos amazing?
I just loved her episode.
(00:44):
She's so amazing.
Y'all, I could listen to Pennyforever and ever and ever,
forever, ever, forever, ever.
I told you, I'm still on cloud nine.
And based on y'all's feedback,it seems like y'all are
floating on cloud nine, too.
I've been looking at thecomments on the Insta.
(01:05):
Y'all, you loved that episode.
If you missed it, though, then boothing, you better hit pause on this
episode, dash on back, and listen.
Cause Penny practicallydropped mics left and right.
It hits a girl square in the heart.
Penny talks about creatingremarkable moments in your work.
(01:26):
She talks about hervoyages around the world.
And why New York is morethan just a place, but a love
affair that lasts a lifetime.
I swear y'all, Penny almost had mepacking my bags and buying a one
way ticket to the Empire State.
I was gonna get my, my husband,our dogs, we were just gonna grab
everything and go to the Big Apple.
(01:49):
It's the truth, I'm telling you.
But let's talk about today's episode.
Today's episode, y'all, itwas a jamboree of laughter.
That's nothing short of magical.
Meet Rishon Hanners.
Rishon is a food stylist, recipedeveloper, culinary producer, and
(02:13):
lifestyle, entertainment, and food writer.
She a renaissance woman, y'all.
She is based in Birmingham, Alabama, andworks on everything from editorials to
cookbooks, magazines, and commercials.
Now y'all, picture this.
(02:35):
What happens when two mouths ofthe South get together on a mic?
A hoot, a holler, a dang goodtime, and truths that'll make
your head nod and go, Amen!
Y'all, we ventured into everything.
We ventured into territories farand wide in this heart to heart.
(02:57):
We dissected the art of risk taking.
We talked about asking challengingquestions like, What's next?
We delved into the nitty grittyof starting out as an assistant.
And we talked about the monumental lifelesson, embracing the two letter word, NO.
N O.
(03:19):
Be it the one you receive,and the one you have to give.
But, before we get into allof that, let's start the show.
(04:07):
I want to start off first by saying, hellyeah, you're here, and I'm super excited.
I have been waiting for this interview.
It feels like there's an actof nature that got in the way,
jury duty that got in the way.
And now there's nothing stopping this,so I just want to say thanks for rolling
(04:28):
with the punches and for being here.
Rishon (04:30):
Yeah, totally.
I mean, life happens.
What can you do?
You just keep going.
Make it happen.
Mica (04:35):
Exactly.
Exactly.
Man, the most infuriating thingabout the jury duty is that
it never freaking happened.
I got an email the day before,after I rearranged my whole life
and they're like, guess what?
The trial is canceled.
And I'm like, it's likeyou sons of bitches.
Rishon (04:57):
I'm such a nerd.
I had jury duty one time and I spentthe whole day in like the holding room
where you wait for them to call you.
Sometimes you get dismissed before theyeven get you into the court and I did.
It was like after lunch.
I had a lunch break.
I had made new friends andthey called me at like two
o'clock and I was like so ready.
(05:18):
I was like nerding out.
I was excited.
And they were like, ohyeah, you're dismissed.
And I'm like,
Mica (05:23):
Wait, we bonded.
Rishon (05:25):
Maybe it's just because I'm nosy, like, a little curious, like, I was like,
I just wanted to be a part of something,and then you would get out of work for an
extended period of time, and maybe it wassomething that would go on for like weeks
at a time, and you were really invested.
I imagined it being much more storybookthan it was, and then it wasn't, and
then it was over, and I felt like myopportunity at jury duty was like the
(05:47):
rug pulled out from underneath me.
Mica (05:49):
The first and only time that I ever served on jury duty,
it went on for six months becauseI was part of the grand jury.
Rishon (05:58):
That's very intense.
Mica (05:59):
It was a six month commitment.
And I knew they were going to pick me.
I knew, I knew from the bottom ofmy soul they were going to pick me.
The second time I was waived outbecause I was in school, and then this
time, it got canceled the day before.
But, I want to get startedbecause I've got...
so many things to ask you.
(06:20):
As you can tell, the two of us couldcut all day long about everything.
Like, we talked about, snowcones, and my love of Sonic.
This is gonna be a bomb conversation.
I'm so excited, but I want tostart off with your background.
You have a journalism degree,you have an associate in culinary
(06:40):
arts, and those are two veryinteresting backgrounds to come from.
How has your journalism andyour culinary arts degree
assisted you as a food stylist?
Rishon (06:53):
Journalism really started out for me because I just was a really
great writer in school, and I lovedEnglish, but having a creative writing
major or having an English major justdidn't seem practical, and, I was a
political science minor to begin with,and that lasted for all of one semester.
(07:15):
Then I swapped to a com studies minorjust because I'm a nerd and I love it.
Eventually when I transferred froma community college to University of
Alabama, where I finished my degree.
I did do some particular, what is theword, course studying for food writing.
So I had a couple professors that haddone food writing, food journalism in,
(07:39):
in their professional careers and tookclasses with them and that was just great.
I also took some food science classeswithin the restaurant hospitality
school, so it wasn't really a partof my curriculum, but I knew that's
what I wanted to shift my focus to.
Before I even graduated with mybachelor's, I was already in the mentality
(08:00):
of like, I'm gonna go into food media.
I wanna do cookbooks.
I wanna do magazines.
After getting my bachelor's that'swhen I applied for culinary school.
I was like, okay, the next stepsrealistically are to go to culinary school
and hone these skills and get my culinarydegree because a lot of these places
that I want to work for, that's whatthey, that's what they're looking for.
(08:21):
Culinary school was the footin the door for my internship
that turned into my career.
I moved from Alabama to Denver,Colorado to go to Johnson and Wales
University, which is a private college.
That they allow students to come in thatalready have bachelor's degree and they
can be on an advanced degree program.
(08:42):
So I was able to do a two year culinarydegree in one year, which was fantastic.
I was pretty much in labs the whole time.
I only had to take a couple likelecture courses, which was really sweet.
And it was in one of those lecturecourses that I actually was taking
that they did a demonstration for,uh, the internship or externship
(09:05):
after your time at school was over.
I was familiar with the fact that somebrands like Southern Living were in
Alabama, in Birmingham, and so a girlthat had graduated just a few years
before me was an intern with the parentcompany at the time was Southern Progress.
(09:26):
And I was like "Oh my God, that's it."
That's it.
I don't want to be an executive chef.
I don't want to do anexternship at a restaurant.
I was like the only person in my culinaryclass that was like wanting to do
anything different other than be a chef.
So, that got me in touch with a director.
(09:50):
At the time for their cookbookpublishing branch, which was called
Oxmoor House, now has folded, but, shewas in charge of the test kitchen and
the food styling, the food photographydepartment, and literally was my
ticket also home being from Alabama.
So I took a couple trips down.
(10:12):
The first time I came down was myfirst time visiting the studio.
It was, amazing one have been in Coloradofor about eight months at this point.
And anybody that has traveled fromthe Midwest and has also done some
traveling in the South will knowstark contrast and the scenery.
So it was like being dropped offin a tropical oasis all over again.
(10:34):
And I was like, thank God forthe green and the trees and
the water and the mountains.
The campus is tucked kind of inthe woods, in Birmingham, it
neighbors a Sanford university,which is another private college.
I walk into this building.
There's like a babbling creek, and likerocks, on, on trees, and, and the, like
(10:58):
the whole building is made out of windows,and I'm just standing in the lobby and
I'm just like, Holy shit, is this real?
Is this real life?
The director comes and gets me.
Her name was Grace Parisi and she usedto be the test kitchen director for
Food and Wine and then became the testkitchen director for Oxford House.
She was 5'2 and I am 5'11 andshe was like, wow, you're much
(11:25):
taller in person than I expected.
And I was like, you're muchsmaller than I expected.
But, uh, we hit it off.
We both have.
Big personalities.
She just kind of took me around inthe studio, , and the studios at the
time were very basic, various homeec feeling type kitchens, like it
did really mimic someone's kitchen athome, which I guess it was the whole
(11:50):
point of things for such a long time.
I remember there were a couple sets goingon that day and we just peeked in on one
and I, I really didn't pay attention towhat was going on, but of course you see
all the camera setups, you see the, thestrobes and the lights and the C stands
and the camera on the giant tripod.
I'd never seen a tripod that big before.
(12:10):
Then we go downstairs to another set.
She's like, uh, and this is the set we'reworking on this particular book, and
I, I can't remember what book it was,but I do remember it was Thanksgiving.
So there was mashed potatoes, anddressing, and sliced turkey breast on the
plate, and the food stylist on the setwas like, I've got to take this phone call
(12:32):
and she's telling this to Grace and she'slike, I've got to take this phone call.
And she was like, okay, what's going on?
She's like, I just need to putthis gravy on this Turkey and then
top it with like chopped parsley.
So Grace is like, oh, okay, cool.
Yeah.
So she like takes thegravy in a Pyrex glass cup.
She's like, so we basically are justusing, like, for food styling, like, it's
a packet of gravy, so that way that youcan make it as liquidy as you want it, or
(12:56):
as thick as you want it, and that wholething, and she's talking to me about it,
and she takes the gravy, and she poursit over the slices of turkey, and then
she takes the parsley, and she's likeshowing me, she's like, we don't chop
it with a knife because it bruises it.
And I just left that day feelingtotally starstruck and totally in awe
and yeah, like literally a month laterthey were like, do you want to come?
(13:21):
And I was like, hell yeah, I'mhomesick AF, get me back to Alabama.
I got to go home, you know?
Like I said, it really was my ticket home.
I ended up interning withOxford House for six months.
The majority of what I did as anintern, honestly, was grocery shopping.
Not going to lie.
(13:42):
I was a grocery schlepper.
I knew the in and out of everysingle grocery store in Birmingham
and knew most people by nameas well, which is a big plus.
And then Time Inc boughtSouthern Progress, and so we
merged into one food studio.
So all of the brands were underone umbrella and the food studio
(14:02):
got a huge upgrade and the kitchensare much more, what'd you say?
Professional.
There have been a kajillion buyoutsand mergers in this world of food
publishing over the last seven years.
And that is actually where I am now.
So I still come back and dosome freelancing with them,
and they're a great company.
Mica (14:21):
The way you describe that building.
That sounds like the perfect day, and thento like, walk into this magicness that's
happening and just watching Food Stylist.
And how premeditated a lot of things are.
Rishon (14:35):
It's extremely premeditated.
Yeah, it's really amazing.
And I'm really thankful that Ilanded in food styling versus recipe
testing because it is totally likeI know that sounds cliche, but it's
like left brain right brain and I ammuch more creative than I realized.
(14:56):
If I was just taking notes for a livingand measuring things and having to
like, follow rules, like God forbid.
Um,
I really was initially disappointed thatI wasn't doing testing and developing and
then once I realized the natural knackI guess I had for food styling, I was
(15:18):
like, this is where I'm supposed to be.
Mica (15:21):
It's perfect that you chose food styling as a career because as a writer,
you know the descriptive words thatyou want the viewer to feel and think.
That is like such a skill tohave this vast bank of descriptive
adjectives to draw upon.
Rishon (15:42):
That is true.
If you're someone that consumes alot of media, then you generally
have a higher knowledge of whatyou, as a consumer, are looking for.
And, and that's a huge part of it.
What do you want to see when you'relooking at these food photos?
(16:02):
If you're styling a particular dish or aparticular plate or a particular protein,
what is it that you want to see from thisthat's going to make it most appealing?
Mica (16:12):
Hmm.
I did a mentorship a few years ago.
One of the things that we worked on waslike color theory and unintentionally it
turned into a project about feelings andfinding what makes a feeling a feeling.
We'd pick a next project and I'dsay, well, I want to create something
(16:32):
that's really happy and bright.
She's like, well, what is happy?
I'm like, Oh, what, well, what is happy?
That's a great question.
She's like, more importantly,what makes a happy photo happy?
What elements in a photomakes it a certain emotion?
Rishon (16:48):
It is so interesting because even just when you gave the example of a
happy photo, like the first thing thatpops in my mind, and it's so interesting
to have that sort of instinctualreaction, like when somebody says that,
and for me, it's like, orange, the colororange, citrus, like literally oranges.
(17:10):
Also just like, like a, like sort of awarm palette, but like, but like warm
yellows and, and, and warm arches and evensome like warm nudes or warm peach colors.
And other like fresh fruits,like maybe some like, Pomegranate
or something like that.
When you work in this industry andyou literally are cranking out product
(17:34):
that is not necessarily what you wouldcreate as an artist or a creative.
It's important to hark back to thatand do sort of creative things outside.
So a lot of the times thegroups of creatives that we
work together, the teams.
Photographer, prop stylist, food stylist,they'll get together and they'll do
(17:57):
these just like fun, creative shootsand a lot of the times it is those sort
of like bases that kick things off.
You're like, what are we looking for here?
Well, you either have a piece thatsort of inspires you, or a word that
sort of inspires you, or a patternthat sort of inspires you, like just
whatever the thing may be, and thenyou just sort of like fill in the
(18:17):
blank and just create something.
Mica (18:20):
So I want to take it to my next question.
I hope I didn't weird you out when Iwas like, I'm gonna stalk your life
because I literally stalked your life.
On your Instagram.
I loved all the quotes that you put upand one of the first articles that you
featured on your Instagram in 2013.
It was like a picture of Atlantamagazine and it was of your
(18:43):
former boss, Jennifer Levison.
What I want to know is who is sheand how did she inspire you then?
And how does she inspire you now?
Rishon (18:53):
Well, that was the year between my two stints in college.
That was my hiatus year.
I moved to Atlanta actually,where my older sister was working
at the time for the same woman.
My sister was the executive chef ofJennifer Levison's restaurant group,
which still exists, in Atlanta.
(19:14):
It's called Super Jenny, S O U P E R.
Um.
I love that.
I know.
Mica (19:20):
That is so awesome.
Rishon (19:22):
So I had a, I really did enjoy my time there.
Jenny is absolutely an inspiration.
Then at the time I was 23, I think.
It was so refreshing to step intoan environment, with a woman owned
business, an entrepreneur who did notstart out in this, in, in restaurants,
(19:49):
her background was in acting.
She went to Carnegie Mellon.
She started cooking basicallybecause you don't really make a lot
of money just acting all the time.
So she started restaurant based onone of her recipes that is still
like literally on the menu all thetime is her dad's turkey chili and
(20:11):
they call it My Dad's Turkey Chili.
The restaurant does soupsalads and sandwiches.
It's very like European cafeteriastyle where you like walk in.
And you just order at the counter andeverything's sort of like out on display.
Everything was fresh.
When she initially started the businessshe hired mostly actors and actresses.
(20:32):
So a lot of her friends,a lot of her peers.
We're talking like 20 plus years at thispoint and she's got multiple locations.
She has a catering business.
She has a nonprofit.
The thing that inspires me the mostabout Jenny then and now is just
that she is so authentically herself.
(20:52):
She still acts every year.
She does like a, like a one woman show.
She'll do a couple othersmall shows with, with people.
It was just the first time I think that Ihad ever been introduced to someone that
was just so unapologetically themselvesand cared about her people so much.
(21:15):
She definitely created the tribe aroundher, not just with like in her restaurants
with the people that she employed, but,but her, her literal tribe, her community.
But my time in Atlanta was whatkicked me off to go to culinary
school because it really did haveme asking the what's next question.
(21:38):
Between my time at school.
It was like, okay, yeah, you're doingthis now and you're getting a lot from it.
And it's awesome.
But like, what's next?
I do have to say that that wasalso because of the people that
were around me at the time.
They were like, what're you doing?
What's next?
Where do you want to go?
What do you want to do?
And I'm like, that's areally good question.
(22:00):
I guess, I guess I kind ofneed to figure that out.
That is something that followsyou throughout life is like, there
are plenty of times where you'rejust like, what are you doing?
What's, what's next?
Not to take away from the momentof where you are, but what's next?
Especially when there's any sortof angst or there's any sort of
(22:22):
like, uh, wishing and missingand, and dreaming and scheming.
You're just like, okay, well,what are you going to do about it?
So it was definitely apivotal time in my life.
And I'm grateful for the push forwardand the inspiration that she gave me then.
She and my sister arestill extremely close.
(22:42):
So she's definitely just like apart of our family in a way, and
I'm grateful for her presence.
Mica (22:48):
Something that you mentioned that is so true, cause I'm former,
my background's in, in theater.
I went to school for theaterthe first time but the thing
about theater people is that wedefinitely take care of each other.
And I've noticed this in thephotography community too.
But what I really liked isthe what's next question.
I'm big on New Year's Eve's resolutions.
(23:11):
At the end of every year, I'mlike, man, I accomplished some
wonderful things this year.
What's going to happen next year?
That's a question that I don'tthink enough people ask themselves.
Rishon (23:23):
People probably even just quietly ask themselves that a lot, but it really
is the answer that is frightening.
Maybe it's not even the answer.
It's just the unknownof what it would take.
It comes with risk and changeis always scary and hard.
I don't think you ever really get over it.
(23:43):
You just get a little bit more assuredthat every time you do, you have taken
that risk and you have made that leapand, and you've gone for the change.
That it has served youand it's worked out.
Mica (23:55):
Do you remember a moment in your career where you felt for the first
time, "Wow, this risk is paying off,this direction, the what next for me?
It's happening.
Rishon (24:06):
Immediately after that.
After Atlanta, moving to Coloradoto go to culinary school.
That was a huge risk.
I like, literally movedaway from everything I ever
knew and everyone I loved.
My, my then partner, now husband, and Imoved together, which, thank God for him.
(24:28):
But that was a huge leap of faith.
That was a huge risk.
That was a huge chance.
We had a great time.
I worked my ass off and it haspaved the way for everything
that has happened ever since.
I really do attribute it to thatmoment that I was like, we're just
going to rip the bandaid, you know,we're just going to do the damn thing.
(24:51):
What else?
What do you have to lose?
Really?
What do you have to lose?
Mica (24:56):
Extending further on the, what do you have to lose?
It's what are you okay with losing?
Because when you take on somethingnew, when you make a change,
when you add something new intoyour life, something has to go.
Anytime I take on any sort of project,I look at the projects that I have
going on in my life right now and I'mlike, okay, this new thing that I'm very
(25:20):
excited about, I'm going to have tolet go of one of these things because my
attention can only go so many directions.
So what am I okay with losing?
What do you got to lose andwhat am I okay with losing?
Rishon (25:33):
I would even go one step further and say, " But
think about what you could gain.
Think about what couldbe on the other side.
The reason that the thing is even floatingaround inside of you in the first place is
because there could be, and probably is,something great waiting on the other side.
Mica (25:55):
Ah, I love that.
I love that.
Another thing I noticed on your Instagramyou seem to have a lot of affirmations.
I have my, my affirmation of the dayand I think it's a pretty in par of
what we're talking about at the moment.
It says, "Take a breath and keep going.
Isn't there a chance of beingsurprised by what happens next?"
(26:17):
by Barbara Brown Taylor.
But one of the, I guessit's a mantra quote.
I don't know.
It says, you may not fully understandthe cycle that you're moving through.
But trust that you are moving, you may notunderstand why letting go is so important,
yet let go you must, this watery,intuitive moon is not about logic, so let
(26:39):
go of logic and open your heart to trust.
What did you let go of that helpedyou move forward in your career?
Rishon (26:48):
I love that quote.
Even still, like, listening toyou read it, it totally gives my,
me like, full body goosebumps.
Because it means somethingdifferent every time you read it.
We are constantly going through differentcycles and constantly probably faced with
letting go of things that we have beenholding on to for too long or too tightly.
(27:10):
Definitely the thing that I hadto let go of with my food styling
career was perfectionism and control.
Obviously still somethingthat I, um, battle with.
I don't know that that's ever anythingthat has just evaporates from someone
if they struggle with those things.
(27:31):
But, I was very uptightwhen I started food styling.
Everything was very meticulous andvery perfect and very perfectly placed.
I was so lucky to be able towork with some really fantastic
food stylists as an assistant.
(27:52):
But then also when I started food stylingon my own, I worked with some really,
really great photographers that mentoredme and coached me and encouraged me
to essentially let go and loosen up.
It seems like just a crazy thing, butone of the things that I really would say
(28:12):
is, I'm proud of in my style or that I'mwell known for now with my styling is how
organic and natural my food styling is.
So.
Mica (28:22):
When you said letting go of the perfectionism, I can
relate to that feeling so much.
When I first started in food photographyor just photography in general, I
was so afraid of doing things wrong.
Rishon (28:36):
My heart goes out because I see so many young kids, teenagers, young adults,
and they struggle with the same thing.
And I tell you when it clicked for me inmy work, it also clicked for me in life.
Mica (28:55):
That's gonna be the word for May.
Listen, let go.
So I, I want to veer it tohow I first learned of you.
I want to tell you two things aboutthe, about this because one, I think
you will get a kick out of this story.
And I forgot what the secondone was, but maybe it'll pop up.
(29:17):
So your video about, how tostyle cocktails and beers.
I found that video back in 2020.
I was doing the mentorship andwe were doing, cocktail drinks.
The first shoot I did, I presentedit to my mentor and she was just
like, I feel like you can do a lotbetter than what you presented to me.
She's like, why don't youzhuzh up your cocktails?
(29:39):
And I'm like, I don't know how to do that.
She said, well, go do your research.
And so I did.
And I found your video and itcracked me up so much, so hard.
The story where you were talkingabout like how you dipped your
finger in the drink and you tastedit and the food stylist was like,
uh, you need to go spit that out.
You just tasted chemicals.
Rishon (30:01):
God, it's such a terrible habit and I still do it.
I still do it.
I still lick my fingers.
I will literally give myself a stomachacheby the end of a shoot and eventually
my assistants caught on and said,they'll just be like, here's a towel.
Mica (30:18):
For context, y'all, first of all, go watch that video.
If you want to learn howto style cocktail drinks.
But in the video, Rishon talksabout how she has a habit of tasting
drinks and she tasted this drink thathad like fake ice and everything.
Rishon (30:36):
Yeah, it was a, it's an ice powder.
Which is essentially, this isgoing to sound gross, but, and
I may mention it in the video.
I can't remember, but it'sbasically like silicone.
So the ice powder product that a lot ofpeople use for food styling is the same
absorbent product that is in diapers.
(30:57):
If you've ever seen, because I knowyou have, if you've ever seen a wet,
soggy diaper, probably from the rain,out on the street that's been run over
and it looks like there's all thislike mushy stuff that's come out of it.
That is essentially the same thing.
So what I did was mix up some syrupbecause it resembles shaved ice
(31:23):
or, really finely crushed ice.
So that the frozen drink wouldhold on set for a long time.
And I tasted it and the girl was like,and this is when I was assistant,
she was like, "What have you done?"
I was like, I don't know, what did I do?
She was like, you need togo, like, poison control.
(31:45):
Which of course I didn'tingest that much of it.
But she was just like,no, like not, don't do it.
That was one of the first times thatI'd ever really been introduced to using
a chemical substance in food styling.
Mica (32:00):
You might want to call the poison control center,
because you just ingested poison.
Rishon (32:05):
Poison.
Essentially.
Consumed in, in large amounts.
Definitely.
A little finger lick, probably not goingto hurt me, but I learned my lesson.
Mica (32:15):
Don't want to test it, though.
Don't want to test it.
Rishon (32:21):
I may be a perfectionist at heart, but I do not have fantastic habits.
Do as I say, not as I do.
Mica (32:31):
Do as I say, not as I do.
I say that all the time to mynieces, do as I say, not as I do.
I want to tell you about arecent event that happened.
I did a portfolio shoot andit was like fake whiskey.
I used soy sauce and water.
And I put up the picture on my personalFacebook and the picture was banging.
(32:53):
and my friends and families arelike, ooh, and awe, and they're
like, Oh, I want a drink of that.
My husband, one of his friends, hisbest friend, Gerard, he was like, I
want you to make that drink for me.
And I told my husband, I was like,should I just pour some soy sauce
into water and be like, here you go.
Rishon (33:10):
That would be a hilarious prank.
Mica (33:14):
And Aaron was like, nah, and he goes, don't say anything.
Just let people admire it.
It's a beautiful photo.
They don't need to know thatit's soy sauce and water.
I wanted to tell you that cause I thoughtyou would appreciate the soy sauce and
water and everyone going, Ooh, I wantthat whiskey drink that you just made.
Rishon (33:31):
Especially working in like a big studio where there's all kinds of people
walking around all the time and peoplethat aren't necessarily a part of a photo
set, they definitely see things thatthey think are very appetizing looking
or really yummy and they're just like,"Oh my god, I gotta get some of that."
(33:51):
And they're like, "Well, thisentire casserole is filled with
paper towels or like this entirething is stuffed with plastic."
While a lot of things we do arereal there is no point in wasting a
perfectly wonderful pour of whiskey.
(34:13):
Just fake it till you make it.
It's fine.
Mica (34:16):
When I meet people and I tell them, Yeah, I do food
photography, yadda, yadda, yadda.
And they're like, Oh, I betyou get to eat everything.
And I'm like, You know, when you're onset and it's a big set, there's like
30 hands touching food and everything.
Rishon (34:30):
The answer is no, and you don't really want to for a lot of reasons.
The amount of hands that have been onit, the plates that it's been on, the
amount of time it's been sitting out.
Also just the amount of timeyou've been staring at it.
You don't want to fool with it.
Mica (34:48):
One of the things you say in your video intros, consider me a makeup artist
for food, and I feel like that is theperfect analogy, perfect description
of food stylist and what y'all do.
My question for you is what's the mostcommon misunderstanding that new food
photographers have about food stylists?
Rishon (35:11):
It's the same misconception that there generally is, which is that food
stylists work primarily with fake food.
And of course, like, our previoustopic that we were just discussing
does not give us much credit forthe fact that we use real food.
Everyone has seen the BuzzFeed video.
(35:31):
It was about motor oil aspancake syrup and God, I don't
even know all the other things.
And of course my food styling videosdid have a huge push for some for fake.
A lot of that was the draw of, and thewow factor of what that would look like,
and some of that is true, but I would sayprimarily food stylists use real food.
(35:58):
Whether you're editorial, so you'reworking with magazines or cookbooks
that are actually publishing recipes.
Or you're working for a foodclient, like a fast food chain or
another restaurant chain, doinga commercial or a static photo.
For advertising, that is areal product that they are
(36:19):
wanting to sell their customers.
And so it's very important thatthat is portrayed to them correctly.
We are long past the days of puttingin fake food, which I do have to say
is much more exhausting and difficultthan it is to use the real food.
Real food can be, like, it'stemperamental, but it also can be
(36:42):
manipulated and replaced and youcan refine it and, and tweak it.
Why do people think that you spentan ungodly amount of hours at some
craft store to make a fake turkey?
Like, no, it's a real turkey.
How?
What would you come up with?
Is it plaster?
Like, I really can't imaginewhat that would be like.
(37:05):
But we're food stylists.
That's what we do is we workwith food to make it the best it
can possibly be in a visual way.
Mica (37:18):
Absolutely, absolutely.
I've told people outside of the industry,legally, whatever brand I'm working
for, we have to use their product.
Everything else can be manipulated and itmakes sense financially and logistically
to keep just the toppings of a whatever.
It's not just about ethics, it'salso, the law, and, and they
(37:40):
didn't know that, they're like, oh.
Rishon (37:42):
It's also important that people know that like these food
brands are not trying to hoodwink you.
Yes, it is a food stylist that ismaking it commercial ready and,
and making it look so good in thosemoments that you're seeing on your
screen or in a paper advertisement.
But the product that is being used is 100%the product that these places produce.
Mica (38:09):
So, you've done food styling from print to digital, for video.
I don't know if there's a huge differencebetween digital, video, and print, but
if there is, how does your approach changebased on what medium you're working with?
Rishon (38:27):
I have to be honest, it really doesn't.
It really doesn't change.
I approach everything the same.
I'm very open minded.
I just am very clear aboutwhat the client wants.
And what is being asked of me and my team.
Those, to me, that iswhat is most important.
(38:48):
Thankfully, there is a whole other partof the team that worries about camera
angle and shutter speed and whetherthings are flying through the air or not.
And I just need to know how much ofsomething I need to make and the
angle in which it's being presented.
Because a lot of the time, like the foodthat we're styling for static is going
(39:09):
to be much more heroic and beauty andthen the things that are being styled
for video they do not need to be perfect.
Mica (39:16):
That makes so much sense.
What advice would you give to aspiringfood stylists or you know, if someone
wanted to come to you for mentorship,what approach would make you go, Oh,
okay, let me pay attention to this person.
Rishon (39:32):
Just reaching out in general is enough gumption that they would
definitely stand out in my book.
That takes a lot to send an email.
Don't message through social media.
Go through the properchannels, do be a professional.
Email obviously is best.
And do some research.
The hardest thing I think is location.
(39:56):
Unfortunately, a lot of our industryis central around urban centers.
You can't be in New York and want to bea food stylist assistant and reach out to
me who works primarily in the Southeast,out of Atlanta, Nashville, Birmingham.
And say, Hey, I'd loveto assist you sometime.
(40:16):
Well, baby girl, I'm notgoing to fly you out here.
If you're in Atlanta, then yes.
That sort of thing.
You reach out to who's, who is near you.
And if you're not in an area thatcan be networked in it, that might
lead you to another opportunity.
So even if your first foot inthe door is not as a food styling
(40:39):
assistant, get your foot in the door.
You could even offer.
Of course, everybody needs a paycheck,but, but you can offer your, your time
as a stage, which is like an unpaidtype of internship, and hopefully
it would lead to something else.
Ask for a cup of coffee, or a chat, a Zoomchat, or if you do have the opportunity
(41:00):
to meet up with someone in person, justsay, Hey, I'm interested in potentially,
doing this as a career and pursuing this.
Can we just talk?
Because I think a lot of peoplewould respond to that more than
they would just jump on theopportunity of you sending a resume.
Just put yourself out there.
That's the biggest thing.
(41:21):
It's the, it's the biggest, boldest,and most brave thing that you can do.
Mica (41:25):
When you take on an assistant, do you want them already taught
and knowledgeable or do you liketo teach them how you like things?
How novice can someone be andbe an assistant to someone?
Rishon (41:40):
That's a really great question.
It's extremely helpfulto have the foundations.
If you've never used a knife before.
This is probably not the bestplace to start because I don't
have time to teach you how to cook.
Now, I will teach you how toperform certain knife cuts.
(42:01):
I will teach you how Iwant something prepared.
And eventually you learnwhat your food stylist likes.
You're flexible in that way.
You become sort of a chameleon.
You're able to adapt.
Be patient and listen and let themexplain to you what it is they're asking
and they won't have to show you anymore.
Eventually, you'll just know exactlywhat they want when they say it.
(42:24):
As an assistant, there, there is alot of like molding that happens.
That's across the board with any foodstylist that an assistant works with.
Every food stylist is different.
Now, I would say that there are definitelypeople for certain jobs that I go towards
(42:45):
more because as a food stylist, I'velearned what assistance, which assistance,
helps me, the best under certaincircumstances and with certain projects.
It is the food stylist's jobto be good at everything.
It is the assistant's job to justbe support for the food stylist.
(43:06):
It is never the food stylistassistant's responsibility or
fault or, weight to carry.
It is the food stylistthat carries the weight.
So with that being said, you, as anassistant, you want to be versatile.
You want to be available, openminded, flexible, but, you
(43:28):
do not have to be an expert.
You've got to come in with certainskills, the basics for sure.
And you've got to have agood head on your shoulders.
Mica (43:38):
All of that.
Spot on.
I could not, especially whenyou said that you have different
assistants who provide a differentkind of support and that determines
like who you're going to bring on.
Rishon (43:52):
Listen, sometimes I work for a client that I'm just like, I know
this client is very intense to workfor, and sometimes I just need that
assistant that I know is just gonna,not even the fact that they know
how I want the tomato slice, it'sliterally just the fact that their
energy makes me more calm and centered.
Mica (44:15):
Absolutely.
What advice would you give to noviceswho are maybe scared or intimidated
to reach out to someone that theyadmire or maybe they don't have
the basics and they're like, Oh,what if they say no type of thing?
What advice would you giveto someone fearing that?
Rishon (44:36):
They're going to say no, just be prepared.
If it's not this person, it'sgoing to be somebody else.
And if it's not somebody else, it'sgoing to be later on down the road.
Life.
That is just the way it is.
Unfortunately, getting over that fear andthat hurdle and that intimidation because
(44:57):
the industry especially is unforgiving.
And, and we don't have time forpeople that wait and are too
intimidated to move forward andtoo intimidated to take a chance.
I will also say that,We're all just people.
(45:18):
And we're very graciouscommunity of people.
And we've also all been in your shoes.
So try not to be so intimidated becauseit feels like that's just holding us to
a standard that we really can't live upto because we're just here doing jobs.
(45:39):
We're just here creating.
We're just here living our life.
Don't put so much pressure on yourself.
If this is something that you'rereally passionate, and that you
really want to go for, just go for it.
And don't be deterred when peoplesay no, because that is inevitable,
but it won't always be the case.
(45:59):
If you don't know what directionto go in, ask for advice.
And see what people say, they arealways happy to give advice, even
if they can't give you a job.
I have had many a person reach out tome and even if I couldn't be the one
that they assisted or worked with.
(46:21):
I always was most of the time able toconnect them to someone else in the
industry that I'm that new needed helpor a job opening that I'd heard about.
It was just a couple years ago thatI connected someone that reached out
to me with the internship that I didwhen I got out of culinary school.
(46:43):
She was a recent graduate, and had goneinto finance and was questioning whether
or not that was what she should have done.
She was like, I just love food andit's just a huge passion of mine.
I don't know if I made the rightchoice and I was like, there's only
one way you're going to find out.
(47:03):
So here's this opportunity andyou either take it or you don't.
And she took it.
And she ended up going backto finance, but that was it.
Now she knows.
And she reached out to me andsaid that it was an invaluable
opportunity and it changed her life.
Even though she is going back tofinance, that it was probably the
(47:25):
best year and a half of her life.
And it gave her a lot of perspective.
You just never know until you try.
Mica (47:33):
Yeah.
You've raised such a great point about,you may try something, you may realize
that it's not for you, and you go backto the very thing, and that is okay too.
Rishon (47:44):
It's not a step backwards.
Mica (47:46):
Yeah.
And it ties back to what yousaid earlier about letting go.
At least now you know, let'ssay you do this one thing and
it just isn't your cup of tea.
Then that's fine.
At least now you know.
You won't go five years down the roaddoing the woulda, coulda, shoulda,
what if I had done it, my, and thenif like something bad happens in
(48:07):
your life and you're like, well,damn it, I should have done that.
Like, you don't have to secondguess because you tried it and it
didn't work out and that's fine.
Also, I like what you saidabout hearing the word, no.
I had to change my mindsetabout hearing the word no.
Because I hear the word no, at leastin the past, I'd hear the word no,
and then I'd go, okay, I tried,and they said no, and I guess I'm
(48:30):
just gonna go fuck off somewhere.
Hearing the word no doesn'tmean it's no forever.
Rishon (48:35):
Correct.
Mica (48:36):
And it does hurt to hear no.
Rishon (48:37):
It is.
It's super hard to hear.
It's also very hard to say no, notjust from the perspective of like if
a novice is like reaching out to youor someone who wants to get into the
industry and you have to say, no, Idon't have an opportunity for you.
It's also hard to say no tojobs that may not serve you, or
(49:02):
may conflict in your schedule.
Mica (49:04):
As I go further in my photography career, I've learned
saying the word no is necessary.
Especially to clients that theirbudget, it's just doesn't work for me.
And maybe they're a great client, butrealistically they can't afford me.
And that's a hard thing to accept.
I have two more questions for you.
(49:26):
You have been in this industry for almosta decade, and that's longer than most
relationships, you know, most marriages.
You answered earlier about whatfirst excited you about food styling.
What I want to know is two things.
(49:46):
How does it continue to excite you today?
Nearly 10 years later, whatanchors you to this profession?
Rishon (49:53):
I have to say the industry has taken many different forms since
I have been a part of it, and I havebeen through what feels like a lifetime
of changes within the industry.
Anyone that sort of hasfollowed food media.
And especially in print capacity,which is what drove me to be a
(50:17):
part of the industry to begin with,there's just not much of that anymore.
Cookbooks are still, big and farreaching and everyone's got one.
But as far as magazines go, that has verymuch dwindled and all has become digital.
So for me, it's been about flexibilityand growing and expanding my
(50:43):
talents, which is always somethingthat I have been driven to do.
I am doing a lot more recipedeveloping these days.
Social content creation,culinary producing.
So I'm doing more of like actualproduction work prior to photo shoots.
I actually have been doing more writing,which when I was a full time food
(51:08):
stylist, before I went freelance, thatwas just not really in the cards for me.
Now I wear a lot of different hats,so I would say that has been what has
kept me grounded is that change isinevitable and being brought up in the
(51:29):
journalism industry about the time thatI was, that was what they were preparing
us for was the collapse of print.
And as doomsday feeling as thatwas, and as much as I dreaded it.
It has served me in the sense ofthings will always be shifting,
(51:53):
things are going to continue to shift,and we just have to pivot with it.
I hate to come full circle on you,but, the what's next question.
You know, what do you wantyour life to look like?
What's next for you?
Like, is this it?
(52:14):
Is this, is food styling it?
Is food photography it?
And for me, that question was, hell no.
I am that and so much more.
And I can do all of it.
And be versatile.
And market myself in amillion different ways.
There's no telling whatthe next year has in store.
(52:38):
For me personally, but thenjust our industry in general.
Mica (52:42):
Yeah.
I love that.
I want to close out today's interviewwith what do you hope the listeners
take away from, from today's interview?
We've talked about so much.
Rishon (52:53):
I know.
If I'm going to be, jaded, notjaded, that's not the right word.
If I'm going to be, conceited, Iguess, I would hope that they find
it inspiring and they are ableto take away some things from it.
For sure.
Mica (53:09):
Where can the listeners find you and support you and fangirl
over you and her fan person.
I don't know what everyone's pronouns are.
So I'll just say fan person over you.
Rishon (53:19):
Well, I am on Instagram.
My handle is at RishonMarie, and I have a website.
It's RishonHanners.
com.
Those are the best places to find me.
You can still see all of my foodstylist versus videos on YouTube.
That was during my time with,with Meredith Corporation.
(53:42):
The YouTube channel is well done.
It seems like an entire lifetimeago, but they're still really
fun and really relevant and veryinformative and obviously entertaining.
If you're reaching out, on a professionallevel, send an email, but like,
if somebody has a question or justwants to give a shout out, on social
media, I'm totally cool with that.
Mica (54:03):
Thank you so freaking much.
Rishon (54:06):
Thank you for having me.
Yeah, this was really fun.
Mica (54:09):
Yes, I had such, such a blast with you.
Alright, I've held you hostage forlong enough, so thank you so much!
Bye!
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