ITEN
ABOUT

Gabriele
Di Fazio

Food and fine dining photographer

Portrait of Gabriele Di Fazio, food and fine dining photographer

"My gaze moves where food meets desire and matter meets light."
I seek images capable of evoking elegance.

Nothing loud, nothing superfluous: only what holds character, balance, and intensity. My work stems from a demanding aesthetic sensibility, shaped by more than a decade of experience and a precise vision of beauty.

I work with Michelin-starred restaurants and with entrepreneurs in the world of food, wine, and product,
across Italy and abroad,
choosing projects in which imagery does not accompany, but defines.

Because true luxury is not excess, but the quality of what lingers in the eye.

Who is Gabriele Di Fazio

I am a photographer specialising in food and fine dining. I make images for Michelin-starred restaurants, wineries and gastronomy brands, in Italy and abroad. My work does not document a dish: it builds the expectation that dish deserves, before the guest has even walked into the dining room.

I almost always work with the essential: a single light and a lot of negative space. It is not an aesthetic quirk: it is how matter — a sauce, a wafer, the skin of a citrus fruit — stops being described and starts being desired. It is also why, on a shoot, I remove far more than I add.

What kind of photography I make

Plated dishes and menus
The dish as it is served, in the formats a site, social and print actually need.
Culinary still life
Product, packaging, matter. For wineries, producers and brands.
Interiors and dining room
The space with the right light, almost always with the room empty.
Chef and team portraits
Environmental portraits that tell a story.
Ingredients and supply chain
The garden, the woods, the supplier. The most durable images of all.
Campaign content
Series built for a precise message, not to fill a feed.

Who I work with

Michelin-starred and signature restaurants, hotels and resorts, wineries and producers, food and beverage brands, groups.

I do not work with people looking for "a couple of shots for Instagram", because a well-built shoot requires decisions taken together — where the images will end up, how long they must last, what will not be photographed — and those decisions only make sense when the imagery genuinely matters to the project.

How a project runs

In four steps, and the first is the one that matters most: deciding where the images will end up over the next twelve months. That answer determines the shot list, the formats, the licence and the quote. Everything else follows.

  1. The opening question. A call or a site visit. We settle the use, not the price.
  2. The written brief. A document of decisions already made: dishes, references, colour palette, timetable. It saves us half a day of shooting.
  3. The shoot. A set with built light, moving continuously between video and stills, documenting the restaurant, the team and the dishes in full.
  4. Delivery. Selection and post-production in five to fourteen working days, in the agreed formats.

A typical shoot day How a tasting-menu shoot is organised

What goes into my briefs The brief that saves half a day of shooting

What you receive

Finished images — not raw files — in the format required by the medium they are made for.

Along with the images you receive a written usage licence: media, duration, territory.

Where I work

Across Italy and abroad. Travel is agreed in the quote and, for projects outside the region, it is almost always better to run two consecutive days than to come back twice.

AWARDS

Awards and press

Third place at the World Food Photography Awards 2025, MPB Award for Innovation category.

The awarded photograph is titled "Wasted Heart": a beef heart sealed in a plastic bag, the cut a butcher does not sell. It is the same image that opens this site.

Read the story
PRESS

My photographs have been published by

Identità Golose Origini, Priverno Gambero Rosso Origini, Priverno James Magazine Lorenzo Palladini Paestum Wine Fest Sara Checchelani

Let us talk about the next project

The first question I ask is not how many dishes, but where the images will end up over the next twelve months. Everything else follows from there.