Dark & Moody Popsicle Photography | Nehha Deshmukh | Skillshare

Dark & Moody Popsicle Photography

Nehha Deshmukh, Ad Creative, Photographer, Owner

Dark & Moody Popsicle Photography

Nehha Deshmukh, Ad Creative, Photographer, Owner

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16 Lessons (59m)
    • 1. Trailer

      1:41
    • 2. The History Behind Dark & Moody Style

      3:11
    • 3. Colour Palette

      2:22
    • 4. Backdrop Creation

      7:11
    • 5. My Substitute For Faux Crushed Ice

      1:18
    • 6. Faux Frost

      1:38
    • 7. Placeholders

      1:43
    • 8. Backdrop Placement

      1:04
    • 9. Styling

      3:52
    • 10. Lighting

      4:13
    • 11. Camera Positioning

      7:59
    • 12. Camera Settings

      2:49
    • 13. White Balance

      4:09
    • 14. Let's Shoot Real Popsicles

      2:42
    • 15. Colour Correction

      12:17
    • 16. Thankyou

      0:33
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About This Class

Hey guys!! Thanks for taking an interest in my Dark & Moody photography class :)

In this class we will cover-

  1. History of moody image.
  2. Using a colour palette
  3. Creating Faux Frost on Glass 
  4. Using Faux Ice (I thought of this ice substitute myself. I’m going to try it and see it works. :)
  5. Making Super easy and quick placeholders
  6. Two DIY Backdrops techniques
  7. Camera angles and distance in relation to the backdrop and subject.
  8. Moody Composition tips
  9. Simple Styling
  10. Best camera settings for moody images
  11. What is white balance.
  12. Setting white balance on DSLR
  13. Understanding Plane Of Focus
  14. Beginner (1 light only) lighting setup
  15. Colour Correction in Photoshop

This is what we’re going to need-

  • DSLR camera or any digital camera that allows you to shoot connected to a tripod
  • a light source
  • some dark backdrops
  • black foamcore or black books (any flat black surface really)
  • Access to post processing programs for editing pictures
  • Being familiar with some of the technical concepts of photography, such as aperture, shutter speed and ISO.

Like anything in life though, I’m always learning so if you have any other tips-pass them on! :)

IT'S SUNNY AND WARM OUTSIDE dark & moody shot.

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BLUE HOUR dark and moody shot.

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Meet Your Teacher

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Nehha Deshmukh

Ad Creative, Photographer, Owner

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Transcripts

1. Trailer: photography has an art, is part of my everyday life and works like therapy. I enjoy working in the studio with artificial life. If I don't properly photograph something for two days, then it's touched. Kind of frightening crazy. I enjoy the party bosses that into planning Shoot, which in the long run has helped me develop my discipline on time management. Selection off subjects from the first new photography project always always begin with one . Food I am craving at discounts is all about capturing Jack and Moon pictures with one of my favorite subjects on favorite foods. Off time, Man, it's people look into the history Off Doc and the images. Holland Red Sky originated finalizing time, creating backdrops reading for frost on gas lighting. That I have used is a simple being 11 artificial light set ups, and you can shoot even in the dark, minimal styling, using a simple crop. How to position the camera on what settings two years importance off white balance on how to set it on your camera on simple color correction techniques for show to achieve a new our really or a warm and sunny outside movies. Hi, I'm me home. I'm really excited to start with glass with you, so let's get going 2. The History Behind Dark & Moody Style: All right, let's begin with talking about what, exactly is the morning picture, if you will, the meeting off the world Moody. Then it shows Moody as giving an impression off melancholy or mystery, although the word sometimes can have a negative connotation in life in photography, ruling is considered super cool, and it often refers to images that are not only shot on dark backgrounds but also evoke feeling off sadness and bloom. They can feel romantic. Even mood images don't exactly make us feel bright and colorful and happy, but they are considered very artsy and beautiful. The style of dark and moody photography is also referred to as the chair school row style of photography, or the 10 in prison style of photography. On is adapted from the chiaroscuro type of art on getting into existence in the 15th century. During the Renaissance, the term tenant prism is derived from the word Dana Bozo or 10 a Bra, which is Italian for darkness in the style of images, the contrasts between the dark and light off very strong on with very little transition from one to the other. The style was developed by the artist Karbaschi's The term. Your school is Italian for dark light, where here means like on school means dark. The style off art also has strong contrasts but are not as strong as those in the tenant prism Stone, the artist start developed the style worldly unguarded of when she reverend to name a couple. Now these two STAIs seem pretty similar. However, there is a slight difference between these two styles. The difference between Jenna Bosom and Care School is that in terrorism, the dark areas of the image are completely neck. Give the confidently black, the completely pitch black. There's absolutely nothing visible in them. For this reason, 10 in Britain was also sometimes referred to as night pictures. On the other hand, in the cheer school style, even the dark, shadowy areas reflect a little bit of blood. There's some object of extra visible, even in the darkest shadows of image. By the way, have you hold off Nicola's summary? If you haven't looked him up looking up, he creates the stark style artwork and purposely damages his canvases. It's kind fool. Some of the characteristics of dark and moody images are they have a feeling of glue. The background is dark and prominent. Although the background is dark and prominent, it is not the most dominating feature of image. The dominating element is the main subject. We have character. There is a strong contrast between dark and light. I'm going to try to capture too dark and moody images in this class. Wolf lived all about mentioned qualities. 3. Colour Palette: I already have a little bit of Ah, big picture water. Want my image to look like I see. Nice orange. What? Schools? Sitting in a glass. The pop schools are really standing out. There is a nice contrast, but what I'm not clear about is what color is the backdrop. Is it blue? Isn't duct? No. Is it born sienna? Nice, rustic Corange. One color is that that is not clear in my head on. There's a little bit of confusion going on there, and I definitely need some help to clear that out. So I like to use a color palette to guide me through this confusion. So what I like to do is once I know what my product is going to be, what colors my product is going to be like, I like to go into Pinterest and then search for color skin sculler ballots that revolves around the color off my subject. Now, for example, in this case, my popsicles are really orangish yellow. So I'm going to go in Pinterest on type in orange color palette are yellow color palette on . Then you'll get a broad range of images. Interest will show you off wired range of suggestions for your search on. Then you can just go ahead and school through them, and then the side on the one that best suits your brief best suits your product, which suits the mood off the image that you're trying to capture. Now, In this case, while I was browsing through these images on through these pallets, I landed upon this one image which is more off a yellow color palette on it is on, um, Sleet. Great. I like the God trust between harm the blacks and greys on the brightness off the yellow. So I have decided to go ahead with this other Kallat sticking to a color ballot will really give me direction while collecting not only my backdrops, but for selecting my props on how my lighting is going to be. Now that I've finalized my color palette, I'm going to go ahead and start making my backdrops 4. Backdrop Creation: backdrops are very important in setting the overall mood of the image. Now I'm visualizing a dark, moody scene, So I moved to design my backdrops corresponding with the dark colors off my belt. There are light colors in the ballot as well, but I'm not opting for a light hiking. Fresh, airy look here, I'm going forward. A little bit off. Moody. Look here. So I'm going to pay to grey shades to create my services. I'm thinking of using the deep almost black agree on the background right behind the subject on. Then I'm thinking off using the light. Agree the slate great as my base underneath the subject. Now the next question that arises is whether to use a plane, Bagram or act textures to it. That, I think, is really a matter of preference when can either use a plain background, all texture, background or a combination off both, depending on the final result that you're trying to achieve. If this was a commercial catalog shoot that I was working on on, I only needed to highlight, say the product, then textured background won't work. It wouldn't have worked. There is no right or wrong in this. If your clients brief calls for shooting your product on a plane back row, then a plane backup is the right one for you. It really depends on what kind of result what kind of final image that you're trying to achieve me. Personally, I think textures are a little bit visually more appealing and add a little bit of personality to the images. So for this shoot, I'm going to go ahead. But backdrops that have suckled get balance textures on there. As far as the material for the backdrops is concerned, one can use all sorts of materials to meet them. Gambles would. Paper fabric list is literally endless. I had used to scrap food that I found lying around on it painted over it. I didn't spend any extra money on buying the wood. I also had the acrylic panes and brushes lying around in the house on. I used those to create textures again. I didn't spend any extra money for making them. I also like that the acrylic beans at a little bit of Mac finished extra to my bag jobs. The dabbing doula have used bills made from a kitchen scrapper on a reusable wooden spoon. I didn't spend any money on making the stool, either. I just put a little bit of my creative effort into making this on. It was a whole lot of fun, so it's really just about going on a bit of a prejudice hunt around your house and finding things to experimental. Some ideas for backgrounds are a construction paper with cutting board jute cloth bags. Will baking trays, sheets or pieces of fabrics, plywood, painted wooden boards, canvas sheets, Mahboob brain I'd etcetera, etcetera, etcetera on. If you're looking for some creative ways to create your textures, then the tools you can use our loofa or toothbrush cotton balls, bubble wrap bunched up rebel bads, makeup sponges, make up brushes, carving tools. I'm going to use actually colors for making the piece back dress. I'm going to use a white one on a black one second backdrop significantly lighter than our first when our first factor waas very dark. It waas close to being black, but we want a 2nd 1 to be somewhere in the middle, not close to white. So I'm just going to quickly best this again on our second backdrop. I'm going to place thes two right next to each other. So I know so I can figure out if there is. I'm quite happy with how the shed is. How light the Shakers. So I'm going to go ahead and finish painting this a picture to our source background dog back down its pricing way. We're going to use the same light grey fellow that we use for our second background, and we're going to use this little body that we used to cost our class. I'm just going to adapt to Spain on quality tool here. Then I'm just going to rush me, stop making pictures like this. I'm just going to start having me to create this texture. 5. My Substitute For Faux Crushed Ice: e. I want to show my popsicles tucked inside a glass off crushed eyes, but we don't get crushed eyes or that easily Here where I live in Mumbai on there is never any lice in my fret on. The problem with using really eyes is that it's going to melt superfast, especially if it's crushed, all shaved on. Then my popsicles are just going to end up sitting in class off cold water, and that would be very, very disappointed. So I was looking for another option, a substitute that would work in place off my eyes on one change its property over time. That won't change its shape over time on give me room. Give me the freedom to play around with my styling and my lighting so I don't have to hurry around worrying about the I stoop. So I got a little bit creative and I had these babies lying around the house. These have some backs flakes that were lying around my house from an oil project. I was supposed to make some candles from these which had never did and thought, Hey, maybe this could work. They look pretty cool. What do you think? They work? Well, I'll have to try it out and find out 6. Faux Frost: in order to create some fake frost, hungry to use a class, pulled some fabric clue and some regular fine soil from the kitchen, then for creating a fake frost effect is the same. This reason for using fake eyes to buy time. I'm going to start with adding sound fabric clue to the glass ball. Then I'm going to add some salt to it. Mix it in. I'm going to add some water. Do this in order to just the consistency on with the stool. Yer is the same tool I used to create textures and my background with the stool you're on worked to adapt the mixture onto the class and spread it around as evenly as possible, just going to get it in weakness. The study Little a soldier ran use actually start to give us that effect on what the blue does is it helps. The grounds just checked to the class. They don't follow. They don't make that is why it was so important. This recipe. Let's place this class against a dark background. They can really start to know just frost effect 7. Placeholders: I'm going to make some four Popsicles to be used as place winners while I style on, Set up my shot peacefully without having to worry or hurry about them melting. These are going to be a lifesaver. This is going to help visualize my styling, aunt how my subject will look. I'm simply going to cut out pieces off paper that resemble my popsicle in shape, size and color and paying them very draw Flee with the color off my product. - Once the pain has tried, I'm simply going to stick a Popsicle. Stick on them. And that's it. My place. Where is already on Good to go. 8. Backdrop Placement: Now the question is held with decide which backdrop I should place at the Borden on which one I should place behind the subject. I have decided to place the black backdrop behind my popsicles as this will give me a much stronger contrast against my chrome yellow color. On the lighter, great backdrop, my subject one stand out as much. Also, the backdrop that will be behind the subject will be more visible and take up more surface area in the picture. And since this is or dark on Moody shot, placing the darker background behind makes more sense in this case. So I'm going to go ahead on both my dark backdrop against the war on my tables, and then I'm going to use the great backdrop as my base. 9. Styling: to make an image moody. It is a good idea to use props that have depth to them. It is a great idea to add character to a movie picture by using props that are a little in perfect, with scratches and stains on a lot of textures to them. For example, all wooden cutting boards with knife monks look gorgeous on both light and dark backgrounds . For my Popsicle shot, I am using ah used dish double kitchen table. I didn't buy this napkin. It came from my own kitchen. I just happened to have saved it a long time ago because I thought, Hey, this one looks school. It has who were there on looks, vision. Interesting. And maybe I would use it someday in my shoot and my styling and look, it worked out. The small hole in the napkin is off. Great way to show that the food that I'm for roughing that it's feature is made by hand. In my own kitchen and former napkin placement, I have decided to wrap my little travel around the glass to add a feeding off intimacy to the image like the glass is being wrapped in a blanket during winters. Avoid using cutlery on bulls that shine because they look very new and perfect and which is the opposite off what we're going for here. Use monochromatic props that don't steal any attention from your subject. You start drops that fairly blend into the background and hide into the background. It's like playing a pickle. Prove it, since the whole idea is to keep the background dark on to please the focus on food. In this short, the doctor checks the plate pattern on the napkin complements the background on the subject on adds texture to the picture. No, my camera has a flip herbal screen, so when I'm styling, I'm looking at my camera Schoon. Usually, if I have my camera tethered to my computer, then I look at the computer screen. But just in case, if you don't have a camera with a flip the screen on, you cannot do it to your computer than what you could do is position yourself next year. Camera and look at your set to look at your subject from the point of you off your camera. Now the napkin hole is visible in the foreground, but it is slightly out of focus on the rip adds character to the image. It is also place to slightly off centre and falls on a diagonal. Now, I didn't consciously plan on doing this on position and get on the diagnosed, but the more you practice composing your images you get, you start to get the hang off using grids while composing your images. Subconsciously, your subconscious just stocks to use those grids. Somehow, I also don't want to overcrowd my image by filling it with too many ingredients on drops like schools, etcetera. I just want a little bit off hint a little hint off controlled mess in my styling. So what I'm going to do is I'm going to scatter some fake ice around my subject in my friend, and lastly, I'm going to put my place orders in my class. 10. Lighting: I like to work with the artificial life because it was easier to control on. I know exactly what I'm going to get. Unlike now daylight where you know the temperature of the light. The light thing itself changes depending on the time of the day. Watching the weather conditions are except except practicing for dog fever, continuous lights at the beginning, off your photography journey or even life. Virginia really hurt as we can see what the light is doing in real time. We can see how this calling on what shadows it is creating. How the shaping the subject. We can see all that in front of us in real time, unlike flashlights, all speed lights where light only flashes for less than half a second. I'm going to use a shoot to umbrella for this shot. My lighting for the shot is going to be very simple and very beginner friendly. I have my flashlight by Don't worry, I won't be using it. I won't be shooting with it. I won't be shooting that any flashlight at all. I will be working with simple, continuous light source on a very big level light set up. It's best to use indirect light or diffuse light, so there isn't a lot of light falling directly on the sector for moving images. I often use side or back lighting. My life placement for the shot is about at 10 o'clock angle if and imagining off the face off an alarm clock. The softness off light on how refused the light is also depends on your distance between the light source on Giambra lights up like, for example, in this video you can see I am pointing my light and my umbrella on the wall on when I move my umbrella towards my light, closer to the light that light sores let the amount of light that it's falling on the wall becomes stronger and we begin to get a hot spot. But when I move my umbrella away from my light source, the light source become speaker on it becomes more diffused and we don't get that strong white hot spot. I am all school to use black reflective cards to block out unwanted light and to create shadows where I want them. This will also help me reduce light or cut out the amount of flight. I want you can see here that I have a couple of options. Between that, I'm 20 years as my negative soused mine on black in color. But I recommend that you use negative flows that are black so that you don't get any additional color off the reflector in your image. I'm going to try placing them in different positions. You can see that I have placed my negative fill in between my background on my light. I'm not too happy with it because it's blocked a lot of light on the background. So I am going to try a different negative film, which is more what in on. I will try to please it again on the background, but it's giving me the same result off blocking the light house completely. Now, trying to place the negative field next to the Popsicles also isn't working out from him because this position completely cut sub like that. It's falling on my subject and I don't want that. So finally I'm going to try my third option, which is a simple black book, which I'm going to use as my negative food. It doesn't have to be a professional negative feel you can use any solid black object to as your negative fills. And I like this because what book is doing is it is cutting out the light that's falling on the knocking. It's allowing light to fall on the top off one subject. It's only getting out and creating shadows on the napkin, and I'm very happy with that. 11. Camera Positioning: now the lens star. Amusing is a cannon 50 fixed lens, also known as the 50 50. It is a prime lens, which means it only has one single focal in on. It cannot zoom in and out like zoom lenses, which have multiple for opulence. For this reason, I have to physically move my camera on my tribe board front and back while craving my shot . I can all zoom in and out. I want my camera to be as far away as possible from my backdrop, while the backdrop still covers the entire frame off my viewfinder. Now there are ways to extend a short backdrop in postproduction like Porsche, but I think for this class we will keep it simple on, and I'll cover the extension part off a short backdrop in some other class. For this class, I would just simply like to focus on capturing the dark and moody for craft. So anyways, by placing my camera at a good distance from my backdrop, I can work on achieving Ah, good stepped off field between my foreground, my subject on my background, and it will give me a nice, blurry brok effect on my background. The smoky effect on the background will bring a nice fog like quality good image, which we associate, usually with misty, gloomy, somewhat rainy metal on. That is the kind of look I want for my money photograph. Having a good amount of distance between my camera on my backdrop also gives me more control over. But you separating my subject from my dog background without necessarily having to use the lower F stops like F 1.8 or F two or two going to I can still use those Lord F stops if I want to and if I decide to. But if I want to shoot at, say, ah, higher at stop like F eight or F 11 to capture more detail on my subject on, still warned the background, you remain out of focus. Then I couldn't do that. When I place my subject on my camera far away from a I like the amount of control I get over my image by simply adjusting distance between these elements in my image. For this reason, I will be casing my camera as far away from the bag around as I possibly can now which camera angle will work best for a particular shot depends on the type off food that were photographing what personality we want to give to our hero food. What is the height off our hero foot? That is, whether are we shooting tall foods like a stack off pancakes, our army for graphing short or flat food like Pinza or Peter Slice on. Secondly, where is the most important? The most interesting detail of the food? Is it on the top, like in case off these fried eggs? Or is it on the site? Like in the case off these up Chia seed puddings, there are three main camera angles when photographing food I level or straight on overhead on the 3/4 are between fourth Angry. Let's look into each of these a little bit for an eye level shot. The camera is pleased parallel to the beast that is to your table or to your ground at zero degree angle. This angle is good for tall foods like a stack of brownies, ice cream cones, wine bottles. You know how beautiful the labels on the wine borders are. This angle is perfect to a century. Joel's gorgeous labels and highlight the shapes off those beautiful wine bottles for the sandal. The camera is pleased right about subject at a 90 degree angle, but perpendicular to the beast on the image is shot straight down is very commonly and always used for flatly photography. But a lot of elements in the picture have to be in focus. Think off photographing of dinner table as an example. There is soup for sold spoons, napkins, much tables on. Almost everything needs to be in focus. The sandal is the least flexible when it comes to Steptoe Field, and there are limitations to how much bouquet can be captured through the single. The reason for that is the distance between the background on the plane or focus is very little. It's very short. It's very small to help you understand. This better let me explain what Lena focuses The plane off Focus is on imaginary two dimensional plane in front of the camera at the point off. What's the plane? Off? Focus lies parallel to the sensor, and it is located outside the camera, the plane or focused always, no matter what happens, it always remains battle to the camera on only its distance changes depending on the point of fours. Now let me explain that with an example. Now imagine this square to be the cameras, pain or focus. Now, as I change my focus on each subject in my view Finder, the plane of Focus also changes with it. The three Ford are the 3/4 angle is when the camera is placed anywhere between 25 degrees to 75 degrees in relation to the subject. For example, if this is my subject then and this is my camera, then could be anywhere between 25 to 75 degrees. The most common angle used is 45 degrees. This angle is the most Wasit I'll anil, as it captures, put the top off the food and also the site off the full relatively well. For this reason, it is the most common angle used in food photography. Now my popsicles are tall. Hence, for the short, I would be using the 3/4 angle, but not at 45 degrees. I'm going to place my camera slightly higher than my subject on roughly at 25 degree angle , so that I'm looking down on the subject a little bit no, too much this way. The rim of the glass looks slightly will rather than a straight line. I think this looks more visually appealing. If I start moving away from joint five degrees and moved towards 45 degrees, and what will happen is I will start to lose the height on my popsicles and they will start to look short. They will look shorter than they are. Same goes for the glass that I'm using. The glass will also start to look shorter than it actually is, and I don't want that. I want to capture my subject. As it is. This animal also makes food look less intimidating, unlike a lower angle, which is commonly used in photographing burgers to make them look larger than life on hold on, give them or more dominating characteristic. So the hero angle for my short is at 25 degrees. 12. Camera Settings: okay, So forced. I'm going to set my camera in manual mood. I have always used the manual move for all my shorts. It's just a habit developed a while ago. Next I'm going to set my I sold somewhere in between 204 100. I saw 100 is usually preferable. But since I'm shooting with continuous light and not flash, I have to use Ah high rise up also, I'm opting for a grainy look here and I support 100 as a more preferable eyes off the shot . I want average amount off depth off you to begin with. So I am going to set my f stop do 5.6 and the now let my cameras need to decide the shutter speed for me. My camera is on a tripod, so I don't have to worry too much about shaky, blurry images from long exposures instead of misting I so and risking ah, high amount of noise. What you can do is you can increase the exposure time instead by using a tripod as long as you have some light. A long exposure allows you to take a properly exposed picture. Now, since I'm both the stylist on the photographer for the shoot. My drive mourn will be set to 12th self timer, all very mort. More using the timer on a remote shuttle. For Global who went camera shake on an image that is less than sharp. The focus in image should always be on the main subject. However, the image needs to be exposed for the concept that is mood and story. My metering will be said two century. It didn't drink, as my composition is three. Simple on my subject is placed in the middle of the frame, and there is no back light coming in now. I always refer to photograph in both raw and JPEG mode. The colors and draw format images can be adjusted later in post production. Not only that, but shooting raw allows you to rescue areas off picture that may have bean over or under exposed to appoint. J. Picks come in handy when I have to preview my images on. Sometimes everyhing raw files can take up a lot of Ram, sometimes not always, but J pegs help me save up on time in that sense. Now, my white balance will be such to custom, and this is a very important step off. Very simple step as well. It sounds complicated, but it's really not. It's very easy. So in my next video, let me take you to how to set white balance for your shoot. 13. White Balance: Let's first talk a little bit about what white balance is on. Why it is important on how you can set it on your camera. Very, very simply, white balance is called white balance because off your cameras intent its effort to capture the whites in the image as actual words have to capture the true colors off your subject as they are now. What? I mean, my true colors is the colors off your subject as we see them real life. Now, for example, I have just note for here with me. Andi. It has the shades off blue on yellow on Bena. Photographing this. I want my camera to capture the colors off this notebook as I see them in real life, as I see them with my naked eyes, I don't want my yellows to look warmer than they are. Are my blues to look cooler than they are in the auto white balance mode that is a WB? The camera athletes this white balance for every image that you capture, which means if you stick Teoh auto white balance, that is very, very good chance that it will pretty much capture in accurate colors in all of your images on colors and images will be slightly different from each other. And I don't want that. I want consistency. I want my camera can capture the colors off my set up as I see them in real life. So here's how I'm going to fix that. It's very easy. Okay, so it's very simple to set your white balance Once you have set up your lights on roughly pleased your subject. You don't have to have your layout and composition finalized, but you have to have your lights finalize. No, what you have to do is place your great card, which is on 18% great card. You can bite online on Amazon, or you could also print it out like you can see in this video. You're I have rented out a square off 18% tree at home on my winter on, then place that where your subject is going to be now. Once you do that, go to your camera settings and click on auto white Balance on. Then take a picture off the great square in your camera. Make sure there aren't any of the colors in the frame other than black and great. Once you have clicked the picture again, go back to your camera settings on instead. Off what a white buns this time in your camera settings. Select custom white balance. Once you select custom white balance, you have to again go to your custom white balance setting. In Canon, you have to go through menu to get this custom white balance option. Click on it on your camera, let you select and image to read the grace from it. Once you click on the custom white balance, you have to select the image that we just shot for your camera to read to balance the whites for your images. Okay, so these are the examples off images that I shot. Image on the left was shot in auto white balance on the image on the right, more shot in custom wine. Balance on. Look at the difference in the degree the three on the left has a little bit off warmer magenta dent in it. Andi, the three on the right is actually the correct right, because that is how I can see the grace right now in front of me, even though I'm using same source off light the same color temperature. Nothing has been changed. I'm not shooting in daylight. The source off light has stayed the same. And that is why it is important to set custom white balance for every shoot. 14. Let's Shoot Real Popsicles: I know that I have everything set up mainly my lighting, tiling, white balanced camera settings. All I have to do now is replacement face soldiers with my real product on, I'm going to have to do that really fast. I'll have to move really fast so that my Popsicles Joan start connect. So let's begin. - Usually after I have successfully captured a few shots. What Elect do is I take my camera off my cry for and then I take a couple short handheld from different angles. So that's what I'm doing after going through the shots that I have taken these other two shots that I finalized for my class for my work. The rust. Slight differences between these two images. I like the background. It's visible. The texture is visible on the background. This was the board, the images, so that's pretty good. That's not an issue in either of images. Now what's the difference between the two images? If you notice on the left image the Popsicle, that ISP on extreme right, it looks very flag for the short, placing the box of girls and read that the sites of the Popsicles are also visible so that they don't look flat is very important. I'm not too happy with how I have positioned. The possible image on the right side is much better, I think because off I like how the Popsicle standing out The two Popsicles are facing the camera while the court popsicle is facing away from the camera to ones the light. This adds more interest to the image. Andi. I also like harm. Little Popsicle stick is visible here, which isn't visible in the image on the left. 15. Colour Correction : I'm going to go ahead on and click. Come on, Jay, To create a copy off this image, I'm going to turn this one off and I'm going to believe the background there because I don't need it. I want my image to be darker than it actually is right now. So I'm going to try and create life thing inside for the shop. So what I'm gonna do is take on fitter on Consider the go to render for shop has the lighting effects option. So you click on bag, so I'm gonna want and click on that. You just see for the shop is creating a lighting defect right here. There is this small spot of flight, Andi. It does. Let's see what happens with that. It's just really about playing with what you want to do on it has these custom presets. So from costume presets, I'm going to select Joe Klock spotlight and then just my sighs direction. The strength in C. The hot spot is right here. It's like in a just stack. I can adjust the intensity here. You can see what's happening right now. Is this little care this little tear on the napkin is falling outside the circle, falling outside life. I want it to be inside the life. It seems I think your dad and expand a little bit here and then moved. Um, looks Werder, maybe like here we'll go move it out. No, I'm happy with this. I like how the background this was a boo. This is stock or back along. The right is much darker. Let's see. Hey. Okay, So I'm happy with what I have, so I'm going to go ahead and click, OK, But you can see I can turn. My lighting sits on and off. It's not embedded in the image, which is a good thing. What? I'm not happy about literally nutritious core viewer that I'm getting from delighting Sligo . So I'm going to go ahead and thinks that manually do that. I'm gonna create new layer on top off my image on in that I'm going to select the greedy in stool The options Obama. I'm going to go ahead with the Basics folder and select the back to foreground to transparent so black to transparent option on did that and then to create a greedy int right here in simply just stretch it out. Click Blending moon as multiply. I don't like how the dark color discovering the impossible's I'm just going to mosque it out the marsh bad out on the go ahead and click on the quick selection to over here and on my Popsicle image. I'm going to pick on my home. Um, with black color selected in my foreground, I'm going to draw over the shadow to drive the my article. It's medicine. The Popsicle is visible on the core of has disappeared. And I'm going to need this coverage right here. I'm not gonna play around with further because I like what I see. I don't want things to sharp. I'm gonna go ahead and hit his released journal group. Andre. We call it option one. No, I'm looked a timeline. Second approach, do dark and moody correction. On in this second approach, I'm going to Lanyu Lee create the light and shadows that I'm looking for. I'm going to go and select my what you gonna last with your e red around us? I want light coming in from this direction and selling one my box. So rather than creating light because my image is followed a pretty like there's already a lot of light in the image. So rather than creating life, I'm going to create shadows. So what I would do is withdraw out and select the area that I want my shadows to be a and sitting it in. And I'm going to make a mother there and then similarly select the area that I want to at shadow Still Religion of Danny. Which back? Hello Im Jane Blending more to multiply again? It's for works. The Lears on Get My Shadow selected Good dissenters. No, there caution there because I don't want my shadows to have these crisp edge. I'm going to blow them out on going to blow them. Jury, I guess No. 1 50 Oh changed your persecution in the sixties. It's It's too low. So let's try 755 bad. And we want to repeat the process for this shadow as well. So fitter. The Washington 1 30 basically to seven fires. I can see these little edges her so that doesn't be fixed in a stretched higher. Who is now? I want to add shadow. Teoh Borden, right of the image spells on make another layer the Stein, like the brush store on you, changed the lending more to multiply off the layer. I'm just draw around it, going to meet my brush size bigger and stick ones. That's not bad, but it's too dark. It doesn't look natural at all. This is a little better, but I am not too happy with how visible the horizon is. So let's see if I can move my shadow up extended by going back to 60. I need that there and maybe create a non shadow. I like to create every shadow on a different layer so I can edited the rear. Want to back 16? It's too much. Yeah, that's a multiply. No bad. This I like these are all my shadows. Oh, now I want to make my possible visible again So I will have to erase the shadow that's forming on the Popsicle right now. So the shadow is on layer number three, and that needs to be masked out. Master your mask on my possible image. Go to the quick selection to select my box of boom. It's the same process that be good for first, no for stock and and then on my tree with my brush tool selected the brush do it is the shop key is be on Mac and reduce the size of the brush foreground. Selective black movie. Draw over. It moves over the possible to reveal it. This, like I'm pretty happy with what I have. I want at sharpness and texture to this courage to this style. So to do that on clicking on my image again on In the Channels section the chance option I'm going to click on Blue Click on Command A to select the entire image. Then come on, See to copy, image. Come on D dis elect image on. Then click on the RG Me option. Go back to nears about my layer. I'm going to take come on to re to pace the new channel layer that we just copied. Once I have done that, you're 60 is the new channel Air Me Rename and Bleuchamp months. I have done that on good to Malia's, lending more options on Click on Overly on Justin, basically on her changing to 20%. And as you can see once a zoo in it brings out more detail. It's not too much. It's very subtle, but makes quite a bit of difference, and he wants it to be more stark. Want more detail? Just increase your price sitting but little bit. Don't overdo it at home or do it exactly in C. It's changing the color of my possibles and a little bit every yellow look orange. So if I want to change that, I will again go head on with my quick selection, you're get rid off the Blue Channel Cejka on the bicycles Now I have the origin color of my body Tickles on defectors only applied to the napkin eyes on through the background on last not the least on the final step is to add color to my image, so I'm going to go to the middle. Go add new adjustment layer other balance and slide leak. Increase the CNN. If you don't want to increase the CNN, and if you're going for the Blue Overlook, then you can just change. Add to your in urge. This looks a little portal. Maybe die down in a gentle way, like that little green that's in there. I'm happy with this after training three and this is mine blew over dark and moody. Look 16. Thankyou: I recommend using this class as a guideline for creating your own dark and moody images. So, for example, if you think that my images are dark and moody enough for your tastes, then I suggest that you experiment with the or images and pushed the dogs with corn crossed state to find your own style. Thank you for taking my doctor and moody close on. Good luck with your class project on your future.