Still Life Photography: Shooting A Ballet Story In My Tiny Studio | DENISE LOVE | Skillshare

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Still Life Photography: Shooting A Ballet Story In My Tiny Studio

teacher avatar DENISE LOVE, Artist & Photographer

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

8 Lessons (39m)
    • 1. Introduction

      1:48
    • 2. Class project

      0:37
    • 3. Shooting in a box and props

      8:56
    • 4. Styling our setup

      2:24
    • 5. Lighting and using a black card

      6:55
    • 6. Camera Settings

      7:08
    • 7. Shoot Recap & Editing in Lightroom

      10:26
    • 8. Final thoughts

      0:46
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About This Class

When I was a little girl I wanted to be a ballerina... and this setup was inspired by those wonderful memories I made in dance class. Still life photography is my favorite type of photography. You can set up a space in your own home without the need for a huge studio. We can get creative with our sets and props. And the best part is we can shoot any day all year long no matter the weather outside. I enjoy coming up with creative sets and I can't wait to share with you today's setup.

In this class we'll cover:

  • I'll show you one my favorite photography tricks - shooting in a box
  • We'll talk about my props and what you might look for to do your own dance setup
  • Styling¬†your set up near a window for natural light
  • How I¬†take away more of¬†the¬†light when I want to make it dark and moody on one side
  • I'll style the setup and talk about a few photos I might end up taking
  • We'll also look at my final photos from this setup and do some editing.

This course is perfect for beginners getting started and needing ideas. It's also great for experienced photographers wanting ideas and tips for doing studio setups.

Required Gear: A camera. You can do still life photography with any camera you have. A few props to tell your story, and a box - whether it be one like I'm using (a vintage crate) or a shipping box, doesn't matter which. 

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Meet Your Teacher

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DENISE LOVE

Artist & Photographer

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Hello, my friend!

 I'm Denise, an artist, and photographer. I'm really passionate about sharing what I have learned with others and creating workshops is what I really enjoy. I've primarily focused on Photography Workshops up to this point. After having a thriving studio photography business since 2012, and being involved in different arts my whole life, I have started to delve into other creative workshops to keep things fresh and exciting for myself. I enjoy the journey of creating as much as what I end up with when I'm done. I can't wait to share with you and see what you are creating! 

I have an Instagram just for my art feed if you want to connect over there. I'd love to see you! I also have my main Instagram account for all things ... See full profile

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Transcripts

1. Introduction: When I was a kid, everybody wanted to be a dancer. We all wanted to be a little ballerinas. And I couldn't wait to go to dance class and start practicing for the next recital that we were going to do for our parents. And it's, today's set is inspired by those memories. I'm Denise love and I'm a still life photographer out of Atlanta, Georgia. And what I've pulled together today is something exactly that something pull out of my memory and I get very excited when I can pull a story from an experience that I may have had earlier in my life. Stories are what make photos interesting when you look at my photo and you think, Wow, that kinda invokes my own memory of when I was a kid. Or Wow, I love those props that you found to pull that story together. I loved the things that we remember. I loved the prompts that we pull together to pull that story out of us. And I love when people see that and have a reaction to memory that they've had themselves. In today's class. I'm going to set up a little ballet story with a ballet costumes, some antique ballet shoes, a fun crown. I'm going to show you how I photograph shooting in a box because that is one of my favorite forms of Still Life shooting is shooting in a box. So you'll understand a little bit more what that is as we go through class. I'll talk about the lighting and camera settings and the reason why I've pulled together some of the props that I have. So I know you're going to love what we've got today. If you don't pull together a ballet story and you have a more modern story that you want to pull together that would work great for this type setup also. So let's get started. 2. Class project: Today's class project is simple. I want you to come back and share two photos that you've taken of your setup. I want to pull back shot and I want a detail shot. So I want you to take as many photos as you like, come up with as many different stylings of your servers you need. But when you're all done and you get to the editing side, pick out your two favorite, and come back and show me a pullback and a detail. All right, so I'll see you in class. 3. Shooting in a box and props: Let's talk about my box and our props here that we're going to use in this different setup. So one of my very favorite things to do is shoot in a box. And I love it because it's a really fun way to control the lighting. And I've had several different antique drink crates over the years. And this drink crate is about 15 inches wide and about 18 inches tall, and it's about nine inches, 9.5 inches deep. And this is the biggest drink crate that I've had. I've had several that were this height, but maybe they were only about 12 inches wide, maybe 13, they weren't quite this wide. And I love this one. So the bigger the drink crate, the better. And the deeper it is, the better had almost rather this even be three inches deeper to say like 12 inches deep. But for what I do, it is deep enough for most things. And if you find a drink crate at the antique market, I like to spend about $60 or less for these. That's about my price range for drink crates Because There's plenty of room. There's a lot of them out there usually. I've got on before where they had grading inside metal grate. I don't like those because the great gets in the way. So you either need to take that grayed out or by one without the great. And that great usually was holding bottles like milk bottles. So it's usually comes in a drink milk crate. The greats in there. So I wouldn't get one with that in it. I would keep looking at that's the only thing you found. And you can get these off of eBay a lot of times then as you drink crates. But again, I would kinda keep that under $75 or $60 Because it on eBay you're also paying for shipping. But that being said, one of my very favorite things to use as a prop, I'm always shooting in a box. So today we're going to shoot in a box. And we're going to shoot a dance story. So I have picked out a dance costume. I'm going to do a ballet story. And this is just the top of the dance costumes. So I'm sure there was a skirt, a ballerina skirt that went with that. But when I purchased it, there was just the one piece. And I found that at the antique market and it was relatively cheap. I paid less than $20 for it. And I love it. It is one of my very favorite props. I've had it for many years. I just keep hanging it back up in the closet. And every year I think it's something new I need to do with this pretty top. So find a pretty top. If you don't want to tell about a story, that's fine. Tele a story and come up with some pretty top you have in your closet. You can find ballet tops. A lot of times at prop houses like costume houses. Some of them may have costume sales where they're trying to get rid of their overstock. You might check with local dance studios to see if they're getting rid of any costume overages that they have. Check at. So you could check eBay. You get. So one up yourself. I think, you know, some of this looks like you could do this very easily on your sewing machine if you so, just get creative there. Your goal, this is not going to be fully and focus on my photos, but there are some pullback photos where you can tell what that is. And I love the rushing. So get creative and the type of three top that you come up with for your data story, even if it's a more modern dance story than say, the ballet story that I'm telling. Another prompt that I'm using today is an old set of ballet shoes. And I've had several pairs of these. I got a real pretty pair off of eBay at one time when I thought I wanted to do this type of photo shoot, I ordered all the parts in at 1. And then my next door neighbor, her grandchildren or in dance classes. And one of them was a serious dance, seriously into the dance stuff. And she went through two or three pairs of toe shoes a year. So they had a whole box of ballerina shoes. And when I told her I was doing some setups inspired by a ballet story. She told them in a box. The ballet shoes ended up at my house, and I'm not sure what they thought I was gonna do with a whole box of them, but I appreciated it. And so at that time I picked out my very favorite of all the ballet shoes ahead because I didn't want them to dirty. I didn't want them to clean. I don't want them to look new. I want it to look like these were danced in and loved in, but still kinda pretty to take a photograph with and to save for every time I wanted to pull them out because I've found a couple of times that I've needed to pull the ballet shoes out and I loved that I have those. In my closet. And then a friend of mine who does equine she's Equine Vet, So she does horses for a living, but she's got the photography side hobby headset at one time that wouldn't it be beautiful if she tied to ballet shoes down the main of a horse and had some ballet dancers and did a photo with ballet dancers in the horse and the shoes. And I was like, I'll be fantastic here you can have this box of ballet shoes that I have felt was able to give them towards a future idea. I don't think she has to this day shot that photo, but it was at least a place where I could give the props to a potential future amazing photo. And the other thing that I have that I'm going to play with today is a query on and this crayon is, looks handmade a fan at, at the antique store. And at the time that I bought that, there was a good story that went with it, that it was handmade and Belgium or something like that in Europe. And there was antique and she had two of them and it was so beautiful that now I regret not buying both of the crowns. Just go ahead and because I've never seen another one like it, it's so pretty and its simplicity and it's the most beautiful thing to photograph. And I've used this crown several times. I went through a period of time where I was obsessed with little crowns and I got some off eBay and I got some off, ETC. And I would just make upsets with crowns. And then all the ladies in some of my photography things would be just as obsessed with him and wanted close-up picture of this and tried to recreate this because it just photographs so beautifully. In photos, It's so pretty. You're gonna, you're gonna be jealous of this crown to. But let me tell you if ever come across anymore, I'm going to buy them all. But some other options for crowns that have come up with in the past, then, some pretty crowns off of eBay and this one, they're easy to find if you look up Santos grounds like the Santos doll. And that's what this was under Santos crown real pretty also have found this random just strings of pearls on Twisted wire and it makes a crayon looking thing, but it's not necessarily as detailed. A crown, is this like this for sure is that but this would be pretty set on top of a ballerinas head on her BUN or something, but it would make a pretty tight crown. And in this you could probably duplicate relatively easy with some fake pearls in some Twisted wire. And then I've also found Different at some other time, just a random pretty thing that the antique store that looks like it's made of pipe cleaners, It's just fuzzy green stuff. But that would be a pretty kind of decoration in a setup like this. If I didn't have the pretty beaded crown that I was going to use. So be creative with your dance story or whatever it is. You decide to shoot in a box because the box is really nice for manipulating the light and adding some depth to my darkness. If I were to shoot this setup, like on a plain black card, there's no depth to that at all. It would be really flat. It would be black, which is fine, but it would just be a flat black. I like my black to have some depth. So when I edit this, there's it looks like the scene keeps going. It's not like I sat in front of a black card and took that picture. So I like the depth that I get my shooting a box. All right, I'll see you back in class. 4. Styling our setup: Let's style are set up so I have my costume on a hanger and I like that because now I can kinda clip the top of the hanger on the back of the box and it'll hold itself up. But the hangers not going to be part of the picture because most of my pictures focused from like here, nail and kinda the inside part of this. And I'm gonna, you know, while I'm shooting, I'll move the ballet shoes all around, but I could have them sitting up and I could have them kinda down here. I can have one crossed over the other. I could have them on one side versus the other. So there's lot of things that we could do there. I could have the ribbons kinda coming out in front. I can have the crown kinda sitting with the ribbon coming over it. I could have the crown kind of propped up on her outfit. I could do a photo with the crayon kind of attached up here. I can kinda get that. There's like a nail on my box right about here. So I think I kind of get that positioned over that nail possibly. Or get it to hang on the dress or I can have a pin up there holding that up. That would be a really pretty detailed shot. I could have it leaning. I can have it now on the shoes, lot of different places. I could move the shoes and the crown around the main setup to get that. So that's going to be my focus today is moving the details around and seeing what I can get. And that's what I want you to do to only eat, to pick a pretty top, pick a pretty pair shoes, pick a pretty hairdressing, whether it be a hat or a hair bow or some type of flower dressing, or some type of crayon that you found. You can be really creative. They are in the parts and pieces that you come up with and the shots that you ended up taking. So remember in our project, we want to do some pullback in some details. So that's why I want to focus on moving this around, getting different shots and seeing how I can get those different details in the different photos that I get. So we'll take a look at the photos that I took during the editing segment. And then hopefully that'll give you some good ideas of what you can do for yours. All right, I'll see you back in class. 5. Lighting and using a black card: Let's talk about the lighting on our setup here. So I'm in my studio. I'm in a room with all the lights turned off and I'm sitting close to the window and you'll notice I've got my setup within about eight or so inches of the window there. Because you kinda want to be a little closer to your light source then further away. If I were to move this setup a foot or two back, the light would be greatly diminished that I was working with. And a lot of times I want as much light coming in on this side is I can get so that I have a good range of light to dark, but it's diffused light. If I were to write now I have a photography diffuser in this window. And you can see that it's blocking quite a bit of light because we can see the light shining here on these window Moines. If I were to take this out of the window, this light coming in is directly streaming on my set. It's not on this top part here, but it's really harsh right down here. And that's giving me some super harsh highlights and blown out areas versus the dark. And that makes for the least appealing photo that you can take. You don't want to take photos indirect sunlight, there are too harsh. They don't have a nice transition from bright to dark. And you have all these spots that are on here where it's shining or it would blow it way out and it just doesn't look good. And when I was younger, I thought I can take photos out at the Botanical Gardens a high noon with the sun over my head and get great stuff. You can't convince me otherwise. And it took a few years before I could see the light. You know, a lot of times when you're just beginning out, you're trying to figure out your camera. And you're trying to figure out your composition. And you're trying to run around to different locations around your city. And you're thinking, I don't want to get up at dawn or I don't want to be out at dusk. And so you're out shooting at a time when it's convenient. Maybe you're out with local photography clubs and the middle of the day and when you're done, you're going to go eat lunch. It's kinda how mine tended to be. And so I was out just shooting whenever just trying to figure everything out. And the light to me was just not as important. And I didn't realize for a few years really how important the light is and how my photos changed when I saw the light differently. So when you're in a window like this, you're going to want to diffuse that light. You don't want the sun directly on your setup if this were later in the day, because I shoot in an east facing window, this light kinda comes in to this window in the morning. I'm on the side of the house where the sun rises. And so I can shoot in this window till about, say, one o'clock or so. And that's when the light is on top of the building, the suns on top of the building tipping over to the other side. So if I went to waste a west facing window, I'd want to be working in that window sometime after lunch and working in it in the afternoon because that's where the sun would be. Because I'm working in here in the morning. Sun coming directly in on a sunny day. I needed to abuse that light. And I do that with a photography diffuser, which is the center part of a reflector. So this is the piece that's the middle part of a reflector. And you can see instantly how the light just became much softer. I still have stronger light on this side of my setup and it's darker on this side. So I still have a range of light to shadow, but it's not so harsh that I'm blowing it all out and making it super harsh. So I love that soft light kinda up near a window. If our shooting on a cloudy day, there might not be any sun streaming through the window like this and I wouldn't see any of that on my reflector here that I'm seeing nail. If it were a cloudy day, That's perfect. Then I don't need a diffuser in the window, the Cloud, you're defusing that light for me and I love that. Another thing that I like to do on this setup is I'm shooting in a box, which we talked about when we set up our setup. And what I love about that is now I'm creating depth in the darkness. So when I shoot this setup and I edit it, this is going to be darkness and it's going to be the darkness. It's not going to be a matte, flat black, like if I had been photographing on front of this black card and this to be real flat and it wouldn't have that depth than I'm looking for. So I like to shoot into a box and control the light on the back side of my setup, which creates the yummy dark, moody look that I'm going for. I could pull matte black backdrop forward. My charcoal gray backdrop that I've got kind of back behind here that just stands there all the time. And that would give me a little bit of depth, but wouldn't be getting this light control from the box sides that a box gives me. So I really love shooting in a box. I do a lot of setups with my drink part, my drink box. And then I'll also manipulate the light further with a black card. And I have this black card with two clamps kind of on the bottom that I got from a hardware store. And what these clamps, I like the clamps to be blue or black because they also come in orange and red. And orange and red reflect color back into your sit. So if I have this black card sitting here on this side of my set, blocking light and creating a deeper shadow. If it's a red thing holding it up, that red might reflect onto my light pink ballet slipper. And I don't want that color reflecting into my setup. So I use a black card to kind of soak up some more of the light on this side and create a deeper shadow. If I wanted to reflect sunlight back in and get some more detail over here rather than shadow, I'd use a white card instead and the white would reflect light back in here and bring back some detail for me. So today, this is my light setup. I've got the light diffused on this side, and I've got the black card on this side making the shadows even deeper. And I'm shooting in a box so that I'm controlling the light back in the back also, and creating a deep darkness to my depth. 6. Camera Settings: So let's talk about our camera settings for a little bit. If you're a little bit newer to shooting, I would recommend shooting an aperture mode, the AV mode on the top of your camera. I'm shooting usually in manual mode. But that's because I already know some of the settings that I want. And what I start off trying to figure out when I'm trying to figure out camera settings is what aperture do I want to be sitting at? And I want a lot of blur. I shoot for the bar. I like the blur. I want there to be blur in the background. And a lot of times I might be shooting to add textures and that needs a lot of blur. And I like the mystery and the story that the blur kinda adds to your photo. And so I'm usually shooting at an F or because I have done an aperture test on this lens, it goes down to a 2.8. So what I did was I set up my setting and I did 2.8, and I did an F4 and F5, 0.6 and F8, an f 11. And I looked, I took a photo, each of the settings that I could put it in my camera, my lens, and then I look at those on the computer and I'm like, okay, which one of these do I love the best? And at 2.8, it was a little bit 2-bar. Not enough of my subject in focus. For I had the perfect amount of blur, great amount of my subject in focus. The background was beautiful. F 5.6, almost too much was in-focus and I didn't love it as much. So I do recommend you do an aperture test for yourself so you can figure out for yourself, how much blur Do you love? And then that's one of your camera settings that can be set in stone. Basically, I know I like a lot of blur. I like to shoot around F4. That's what my lens is sitting on. And now I can decide how much my ISO needs to be. If you're shooting on a consumer grade camera, I recommend your ISO be somewhere at 400 or below. So one hundred, two hundred or 400. Iso is talking about how sensitive that camera's sensor is. And on less expensive cameras, the sensitivity is not as good as it is on say, a pro camera. And the higher you push that ISO, if you pushed a consumer grade camera to say 1000 ISO, you would have a very grainy photo. And the best way to describe that if you don't know what grain in your picture is, is to push that ISO way up, take a photo, take it back to your computer and look at it. And you'll see lots of little dots all over your photo where you didn't want it. And then take that same photo at a very low ISO, say one hundred and two hundred and four hundred. And compare it to the one at the high ISO of 100 and see how much grain is there. And what you could do too is you could take that just like your aperture test. Take a photo at your favorite aperture. But change around your ISOs. Take one hundred, two hundred, four hundred, eight hundred and ten thousand. Look at those pictures on your computer and decide for your camera. Where does that grain become unacceptable? And I shoot now on a pro camera. But when I shot on a Consumer camera for many years, the grain after 400, that grain kind of became unacceptable on this camera, I can shoot up to probably 1000 and it still looks pretty good. So I can shoot in lower light situations. And because I like dark and moody photos, that's perfect for me. That is what I figured out. What my other camera didn't let me do it, didn't let me shoot in low light situations as easy. I could certainly do it. I can set up on a tripod and slow down my shutter speed to let enough light in at a setting that wasn't going to be super grainy. So that's kinda what we're looking for. How much blurred here, like, I like it to be enough for how much grain can you stay end or not stand and your ISO needs do not go any higher than that number. So we'll say 400. The only other thing that we have to decide then is how fast is that shutter have to snap to get the right amount of light in for a properly exposed picture. And that changes. So if you don't know how to use the manual very easily, manual settings, set it on aperture mode and pick that aperture. Set your ISO on a setting rather than auto like setting on 200 and it'll stay there and your camera will figure out the shutter speed for you. I love that about it. If you're doing manual, then you'll just go ahead and set the scene up and meter it, and then adjust your shutter speed until it says, good exposure with your exposure line that you're seeing in your eyepiece there. So I'm shooting here on 100 ISO. And I was really, I had the lens settle F4 because I'm using a manual ends today. And one on 25th of a second was great for the amount of light that I have coming in. So if I'm at 125th of a second, I am shooting fast enough that I can hand hold and I'll get a nice tack sharp subject. If you're shooting in low light and you can't shoot and at least 160th of a second, then you need to set it on a tripod. Because anything less than 160th of a second is liable to give some shape to your camera. It picks up any kind of movement at all. And if you're handholding, you're not going to be able to stand still. Just breathing makes you move. So even if you're holding your breath trying as hard as you can, I still kinda sway a little bit. So if I don't have enough light for at least 160th of a second, I'm going to go ahead and set up on a tripod. But if I'm faster than that, I might consider moving around my scene a little bit faster. Now if I'm at like 125th of a second, well, I know that I can shoot all over that same handhold and I'm doing pretty good. And I'm getting a nice tack sharp subject. So just kinda decide when you're doing your little test for aperture or what's your favorite aperture? And then where does the ISO need to be below before it gets too grainy? And that's two settings that are already set in stone. And then your third setting is how fast is the shutter gotta go to make this properly exposed based on the other two settings. Or just put an aperture mode here on your camera, AV mode. Pick the right aperture and let the camera decide on those other settings. You can do that too. 7. Shoot Recap & Editing in Lightroom: In this video, let's just take a look around a few of the photos that I took of this setup to give you some ideas about what you might take for yours. And then I'll edit a photo just to see what we can do here. So I started off just taking my first shot. I had the ballet shoes kind of in the frame with one shoe that you can see and it TO coming in a little bit of the crown and are pretty top there in the back. So I'm just going to hit the auto button and then tweak from there. Sometimes it's just easier when you're manually doing things just to go down and start playing with the sliders to get a look you like. So I'm just going to drop some points here on our curve and pull some of these in. I want it to be a yummy, dark and moody setup. So I'm just tweaking our curve, they're little and then I'll go to the very top and tweak that again. I might come here into my color grading. Sometimes I like to add a slight little blue tinge to the shadows and it just gives a slight Yemeni us to the photo. It's very, very slight though I'm not I'm not overdoing it by coming way out here and making the shadows super-duper blue. But sometimes just that little bit of a twinge of color kind of gives it just a luminous kinda feel that you don't get any other way. And I tend to like that a little bit of color to be slightly blue. And I'm not gonna do the highlights, I just want the shadows. And I'm going to go ahead here in the sharpening and pick a point. I'm going to pick our point right here to be our crown so that I can see what's being sharpen the year and model sharpening box. And I'm going to push the sharpening up, but I'm going to mask it. So I'm going to hold down the Option Alt key. And as I hold down this mask box, you can see the whole thing is white. So right now every single pixel in that photo is being sharpened. And that's a problem because then we're going to make a lot of grain that we didn't intend to. And if we pushed our ISO up high and we already had a little bit of grain in there. We're really going to magnify that grain and I don't like that at all. So we will hold down Option or Alt key while we are moving our mask slider. Anything that's white is what's getting sharpened. And I can now determine how much of that picture I want to have sharpened. And then I also like to come on down to the effects, which is the vignetting. And I'm going to add some thin yet in here I'm going to add a little bit of vignette. In the dark. If you want a white vignette, you could do the white, but I'm going to go in the dark. I want to fairly large midpoint. That's nice and round and feathered really nicely. And there we go, look up pretty that is. And then once I've got all of those set, I'm gonna go back up to the top settings and just tweak a little bit. And I am keeping a look up here at my histogram. I do know that I have nothing down here in the blacks because if you'll remember, when we came to the curve, I pulled this bottom, a control point up. And what that did was eliminated the blacks and made him more of like a charcoal gray, which made it, made it more film. Like if you don't like that madness, then don't pull that bottom control point up. But I love it. It's kind of what is a signature there in my style. Sometimes I'll pull the whites down also. Just for that old timey kinda film look. And it just is what makes up part of my style so that when you see most of the photos that I do or like on here where I'm developing things, it becomes part of my signature styling that I tend to like. Now that we have edited the one-photon look, how beautiful that is. I can now very easily edit several other photos using those same settings. I can simply right-click on the photo that I want to. I can go into the develop settings and hit Copy Settings. And here's what I'm copying. I'm not copying. I'm not changing the exposure of my picture, but I am changing all these other settings. I want to leave this, the exposure unchecked so that my settings don't reset the exposure on each photo as I said it. And when I'm making presets, here's the settings that are saved. And I don't save the exposure in a preset because I want these presets to be as versatile as possible. And if I can set my exposure on whatever photo I want and then apply a preset and it not reset the exposure. That's what makes it versatile. And so I'm going to copy those settings. And I can either create my own custom preset off of what I've just done, or I can come here, I can hit the auto. I can right-click and paste these settings and then I can tweak it if I want to tweak it. Oh, look at that. This is so beautiful. And I just started moving around the photo. Changing the props, just going to go ahead and paste our settings each time. Because now I know these settings will work for this setup. They were all taking at the same time, in the same lighting situation with the same setup. So I can just go through and very quickly edit an entire collection cup pretty that is. And you know, when I'm taking photos, I'm kinda keeping in mind the rule of thirds. So the rule of thirds are these imaginary lines breaking the photo up into thirds horizontally and vertically. And when I'm thinking of what it is that I want to be the main focus, what I want to be in-focus to be my subject. I'm positioning those either on one of these lines or at one of the spots where the lines cross. And that's what makes a more interesting composition and allows your eye to look around the photo. Then if I just centered everything and went with it, centered is not interesting unless you very purposely have a photo that you can center on purpose. I mean, like maybe a giant Dahlia. And the center of the dahlia is the center of the photo. But in something like this, unless I've got a reason to center it, I always kinda line everything up and then slightly off-center, whether that be to the right or the left or on a portrait tight photo like this rather that be this lower line or this upper line. I'm always centering it up to, to kinda line up my, my focus and everything. And then I'm shifting just slightly so that my subject kinda lines up somewhere on this rule of thirds. And look how beautiful that is. We start here and then we kinda roam around and look at the background. And you can kinda see here because we shot in that crate, that darkness has some depth in there and it looks like the same continues on and in your imagination, you could imagine whatever that is back there. And so I just kept moving around the photo. Let's go ahead and apply our settings. Here I'm focusing on the ribbon and the crown. That little bit of background copied that is, these just are so beautiful. And here we can see a little bit more of what's back here. And that the scene continues on. That's not my favorite composition, but I do like it. And sometimes I take a lot of photos in one direction, like this vertically, or sometimes I will take a lot of photos in the portrait mode, which I happen to do a lot of portrait ones this time instead of the landscape than I've done here on this. But I do like both directions. I like getting a variety of portrait and a variety of landscapes. So when you're shooting, vary up the angles that you're shooting at. Oh, look at that. It just so beautifully and moody. And when I, I pair these up as pairs because that's like the thing that I love to do now is I love to create pairs of photos. I like a pullback. I like a detail. So like this, you know, on our photo assignment we have a pullback assignment and we have a detail assignment. So on something like that, we could have this as the pullback. We can have this as the detail. And I have got a great pair that I could print out and hang as a set. I love pairing up photos and creating beautiful dip ticks. And if you think of things like that, like what is a beautiful pairing of the different photos you are. You'll kinda work your way around the photo a little more like you'll start thinking of other things like what detail shots could I get? Look at this pretty crown and the top of the costume? That's a beautiful detail shot. Crown by itself with some fabric rushing. That's a beautiful shot. So I want you to start thinking of that or you pull back. I want you to get in close and I want you to give me a variety of shots when you're taking them. All right. So looking at how fast we edited that, we edited one photos so that it was perfect. And then we copied and pasted those settings throughout the rest of our series and made it really easy to edit fairly quickly. A really beautiful setup. I just love all of these. So I hope you enjoy your dance story type set up and I can't wait to see what you've come up with for this story. And I'll see you back in class. 8. Final thoughts: So I love when we get to the end, you've seen everything that I've put together for you today, and then you go and you pull together your own cool set photograph. I want you to make sure that you come back and share some of those photos with me. I get so excited to see how you interpret the different themes and come up with the props that you come up with a fine and inspiring myself that gives me new ideas too. So don't forget your class project. Give me two photos. One pull back, and one detail of the favorite of the things that you've come up with to photograph. And I can't wait to see you.