Still Life Photography: Taking photos with your hand in the frame the easy way | DENISE LOVE | Skillshare

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Still Life Photography: Taking photos with your hand in the frame the easy way

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

10 Lessons (46m)
    • 1. Introduction

      1:08
    • 2. Class Project

      0:31
    • 3. Using The Starless Sea book as inspiration

      7:46
    • 4. Props I'm using in this set

      12:56
    • 5. Styling our setup

      1:27
    • 6. Lighting setup using natural light

      3:29
    • 7. Shooting Tethered

      6:27
    • 8. Tripod options

      3:59
    • 9. Shoot Recap & Editing in Lightroom

      7:21
    • 10. Final Thoughts

      1:01
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About This Class

Hand in the frame still life photography has been a fascination of mine for a few years now. It is a great way to dip your toes into doing self-portraits without putting your whole body into the frame. It still falls within the still life category for me since I am usually using my hands and props to tell a story. Whether it be a food story where I'm picking up a muffin or a historical story where I'm holding an old letter with some pretty ruffled sleeves on my arms. You can get really creative in the stories you tell adding in a human element. 

In this class we'll cover:

  • I'm going to introduce you to an idea I had for using books as inspiration for the stories we put together.
  • I'll show you how I use tethering to make taking hand in frame photos easier
  • We'll talk about the lighting
  • I'll show you how I do tabletop photography using a tabletop camera mount from glide gear or using a tripod with a boom arm so you can shoot straight down on your setup
  • I'll go over the props I pulled together for the story I'm telling
  • 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 in Lightroom.

This course is a great class for moving up a level in your photography by trying some advanced techniques for your photography.

Required Gear: A camera. You can do still life photography with any camera you have. A few props to tell your story, and I am shooting tethered - which you can do, or set your camera up with a tripod and use a remote to fire off your camera.

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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: Hand in the frame photography has been a fascination of mine for awhile. And what I mean by that is you actually get your hands in the frame of the photo. It's a really nice way to dip your toes into doing self-portraiture without having your whole body in the photo. And I love that. So today we're going to look at doing hand in the frame portraits. I'm Denise love and I am a studio photographer based out of Atlanta, Georgia. And I'm going to show you my trick for doing easier hand in the frame photography. Because you might think, well, if I've got my hands in the frame, who's taking the photo. And I'm going to show you how I've made this process a whole lot easier for myself. So I'm going to show you my setup. We're going to talk about the different prompts that I've got. And we're going to look at some editing. And I've really packed this class bolus of great information on no, you're going to love. So let's get started. 2. Class Project: Your class project today is to do a hand in the frame photos. So once you pull together some old papers and books and whatever it is that you have handy or whatever it is that you'd like to hold. Maybe even some flowers. I've done a lot of that. And I want you to come up with one photo that you can come back and share with the group. So one hand and framed photo, that's our goal for the class. 3. Using The Starless Sea book as inspiration: In this class I'm going to do something a little different. I'm going to give you an idea that I had about illustrating passages in a book for your stories, for your still life prompts. And so I found the star, Let's see, by Aaron Morgenstern. And this book is the most descriptive book I've ever read. And also read the night circus by her. So either of those books are excellent choices for finding amazing passages that immediately put an image in your mind. And I thought, wow, if this is so descriptive that I have an image in my mind and I kind of feel what the author was describing, I can see it. Then maybe I could recreate it here in a photo. So today, I'm going to show you a set that was inspired by page 161. And with this book, I bought a copy specifically to write in. And if you get this book or the night circus or any other book you happen to be interested in. And as passages in it that are truly invoking an image that you could then create the photograph. Keep, keep notes like a couple little notebook beside me when I was reading this underlined passages so that I can refer to my notes and come back to the passages I was reading. And men did not come up with some good stuff. And in this passage, there's the main character Zachary and another character, Dorian. And Dorian has given Zachary his own book for a bit to keep safe and DOE, and Zachary thinks that he's going to sit down and read the book. And what's really cool about these books when you're in the underground library. Because this is about a, a big underground library is the books are all in different languages. But when you're in the library, you can magically understand any language. And this book, the passage that inspired me. He's talking about picking it up. He's going to eat some pastries. And he's going to start looking at the book. And it says that he opened story Dorians book again. He turns the pages slowly. They, they're old fashioned illustrations, lovely, full colored pages sprinkled throughout. And the titles make it seem like it is a book of fairy tales. He reads a few lines of one called the girl and the feather, before turning back to the beginning. But as he does, a key falls from the space beneath the spine of the book and clutters onto the desk. The key is long and thin, a skeleton key with rounded head and small simple teeth. It is sticky as though it has been glued into the spine of the book, behind the pages and underneath the letter. So can you not imagine immediately right there you're looking at a book. Maybe it's in a different language for photo purposes because we know that in the star. Let's see all the books for different languages. Maybe you have a skeleton key and it has fallen out of the book. And maybe the photo is US picking up the book to read it, or maybe we're holding the key and different elements like that. That's exactly what I dreamed up as I was reading that passage. And that's what I'm going to create today. I'm going to be here at my desk, so my title is my desk. I'm going to come up with a few props that might be scattered on a desk. I'm going to have a skeleton key that I can then hold that just fell out of the book. And then when I post this photo on different places or submit it for different things, I instantly have a story that goes with the photo that I can then quote from this book and say inspired by this passage. And I can talk about what inspired me and why a pull together the things that pull together and instantly your photo is so much more interesting than if I was just taking, say, a photo of all papers and a book on the desk. I've now added another element into our story. I've added my hands. I've added a passage from a book. I have deepened the story that I could have created and made it a better photo for myself in doing that. So coming up with a book that you love. And I do find it hard to find many that have such descriptive passages as this one and the night circus, because actually tried to do Pride and Prejudice and Treasure Island also. And those books are written a little differently. This one super descriptive in its passages and you can imagine the whole scene and the scene is part of the story. Whereas with Treasure Island and Pride and Prejudice, the characters are pushing the story forward through dialogue and through the things that are happening in the book. And you're kind of left to fill in the gaps and the scenery with your imagination based on what you might know about a time period and the things that we might have seen from the time period those books were written. So I didn't love these two particular books. And if you come across a book, would descriptions that immediately create images in your mind, use that to tell stories in your photo. So that's what we're gonna do today. We're going to create that passage here. I'm going to show you my props that I've come up with. Give you some tips about photographing your hands in the photo. We're going to tether so that I can see the photo I'm taking. So I'll talk a little bit about that. And I'm really going to give you some great tips to see how you can make this work and add an additional element into your photos. And before you say, I have terrible hands. Me my hands are big. I got my hands. What you wanna do though is make sure your hands are manicured. So if you've got dry skin or any cuticle cuts or whatever, go ahead, manicure your fingers before you get started. You also want to make sure that you moisten your hands with some type of body oil or olive oil. So I keep a little thing of olive oil here in my studio and I just put it on my cuticles and my hands and rub it in real goods so that my hands look nice and moist. And instead of dry correctly. And that's the biggest secret to your hands looking good. And I can guarantee you, no matter what your hands look like, there is somebody out there that's going to appreciate seeing a photo of your hands one day. Like if my mother or my grandmother had a photo with their hands in it. I can't tell you how much I would treasure that because they're both Golan. So it's not something that I can see anymore. So being able to see a photo with somebody's hands in it that you love is kind of amazing when they're gone. So don't be afraid, no matter what your hands look like to take a photo of them. It doesn't really matter what you think of your hands. It's, it's what the rest of the story is telling. And your hand is just part of it. And there's somebody out there that's going to really appreciate and love seeing your hands and a photo. So do it anyway. Alright, so let's get started. 4. Props I'm using in this set: So let's talk about the props that I've pulled together to create this setup. So Zachary is sitting at a desk and so I'm kind of creating a FOH, desk. And my old wood table is my desk. You can use a photography board sitting on a folding table as your desk if you want. That's a great option. And I'm using my box and I create, it's the perfect thing to create a bookshelf behind what you're doing or something like that. I could turn it on its side, which I might do at a few more books in there. So it's a whole row of books. We may or may not see that in some of our photos, but, you know, some photos you may take of the desk itself without your hand in the frame. But when I'm taking hand in the frame, I'm shooting down. So we may not see those elements, but I do like him in there for atmosphere, for other shots on my take. And so I'm inspired by the star plus c Because of the old books, the old papers though keys, I love all the themes running through that book. They really speak to me. And this is a book that I'm going to revisit over and over and over again because I underlined hundreds of passages that I could create different photos from that kinda revolve around the key theme, the book theme though paper theme, all they've got B's and keys and cats and all kinds of wonderful themes running through the book that truly speak to me enough that I'm like, Okay, I can do this many, many times, many different ways, and I can't wait to see where that leads me. And so now I have a jar of all keys. Because there are several different places in the book where there's keys in a drawer. One of them is up on a bookcase. And so one book, one story could be, you know, the jar keys in the middle of these books. And another story in the book is there's keys hanging from a Windows so I can take my old fashion window and I can have it up here. And I could string keys from the window. And in this particular passage, we've got a key that fell out of our books. So you can see how many different things that I've come up with in just a couple minutes talking to you about the key thing. And I love old skeleton keys. So we have, that passage talks about it being a long key with a round head and a simple, and a simple tooth. So, you know, when you're looking for keys, look for keys that are kinda simple. And look for keys that are more decorative. And look how fun that key is a love that key. I particularly love this key. I'm not sure what that little tube, but maybe a clock. Really cool. This key is really cool. I think it might have been an old car key, but look at that crown and decoration there and the head of that. So a lot of different interesting things with all keys. They're so cool, but they're not cheap. This jar of keys might be the most expensive prop that I have now. And I normally would not have spent so much on a jar of keys if I didn't truly love it. And know that this is a prop that I'm going to use again and again. And it took me many years to even get to the point that I could say, Okay, I'll spin that. Because normally I wouldn't have spent this much on a prop, this little jar and Kees was over a $100. And that's outrageous. Outrageous. But when you're out looking for little skeleton keys, there's $4 to $6 a key. And even though I was buying a whole jumble a keys here, they wouldn't give me a discount at the place that was that they were proud. But I was so desperate at the time to fulfill my vision that I just pony up the money and bought a jar of the different keys that I picked out of the whole bunch of keys they had. So if you ever come across a stash of keys and their say a dollar, a key, best cheat, grab it, $2 a key that's cheap. And to do this particular photo, you really only need one key. And if you do like a string of photos and a window, you need maybe five keys. And the jar keys might be the one that's a little more difficult. But reading that in the passages, I was like, Well, I want a jar of keys just sitting on my desk because a jar keys that thing. And so for myself as to something to sit around my house for many years to come. In addition to being stuck in every single photo I can ever imagine because Jackie, I felt that the prop was worth the expenditure at this point. But to do a really interesting photo. Pick one, the most interesting one key you can find. Or if you do a line of them, pick five keys to string on a window or something for that type photo. So I'm definitely going to be playing in the jar of keys. I'm going to pick the key that I want to have that I'm going to be holding. Also have an old book. This is one of my I'm ones that I got the antique store and I keep a ribbon tied on it because the spine is falling off in the spine is the prettiest part and I should probably just glue it back on, but the ribbon on its real purity. And the book looks super-duper old. And on top of that, it's in another language, it's in German. So the writing is extra decorative. It's probably very difficult to even read because, you know, when you have a font that so decorative and a book that you read today, it's kinda hard to slog through it. So I'm going to have the book open. I'm going to have a key here. Maybe on the book. Maybe have my hand in the frame holding the key. There's lots of different things that we can do here. Maybe both my hands in the frame holding the key in different ways. So I've got some good things that we can do there with an old book, preferably in a foreign language to really fit in with what the starlets see describes in there. But if it's not, it doesn't matter. And this just looks nice and old and yellowed papers and stains and spots. So definitely fits the theme particularly well. Another thing that I've got sitting here is some old papers. And I collect all papers. They're not cheap, Real all the papers. And they're from the 1800s sum up from the late 17 hundreds in this particular set looks like bookkeeping pages for a business perhaps. But I love these more than anything. And for years I was kind of obsessed with old papers, so I have hundreds of them. And I would make digital tools out of some of the papers that I bought to kind of justify the expense of them. But if you just have like one or two vintage French papers say that you found on Etsy or eBay. They really add to the scene. And I like it that the writing is so beautiful. The paper looks old. It looks like we could be doing a little bit of bookkeeping while we're reading a book that we're not supposed to be reading and we find a key. I mean, just kinda adds to the story. And these are in French, which I like spell got French papers and a German book. And if we were down in the library, we'd magically be able to read all of those. But these are wonderful as still life props. And I like the real paper rather than a print out of an old paper because there's texture on this paper that your camera picks up, that you're not going to get on something you print on your printer. So if you're out and you see some old papers and there are a couple dollars, grab them. If you've got some old family papers that you can pull out the attic and just use those then do it. You want to get on Etsy and look forward vintage French papers. You can sometimes find some of these for a couple dollars. And then great, great, great photography prop, one of my favorite things. The other thing that I found as I was looking for stuff, and I actually have another thing I can show you while we're doing that. Another thing that I have collected a few of is some sleeves and some costumes. And I did that because I like the sleeves on the costumes. And so it's this costume worn so beautiful, I'd cut the sleeves off of it and just keep the sleeve. Because it's, you know, it's a tiny little Renaissance looking costume that I'm never going to be able to wear. But even if you can't wear the costume, you can stick your arm in the sleeve. And that can be your sleeve that you're taking a photo of. So I do have a couple of costumes that I have just for sleeves. And this is one of them. This is another one and it's an old night down. And I love the vintage lace sleeve. So what I would recommend for you to do is look in your closet and see what kinda sleeves you have on any of your shirts that might lend itself to this picture. You know, Zachary is a boy. So if I had men's clothing, there might be a sleeve on a Min shirt. That would be perfect for this photo. I decided to take the sleeve and a different direction. And because the book is so fantastical, I wanted must leave to be fantastical. And so I actually found a little set of just white cotton sleeves with ruffles on it that I got off the ETC. And what I love about these is you can just stick your arm in, and that is your hand in the frame with a really beautiful sleeve. And I guarantee you, I will use this a 100 times. And I use it and then I just take it often, hang it up in my studio so I can appreciate them on top of that because those are real pretty. And families when I was on Etsy looking for lace cuffs because I thought if I had just plain shirts, I could put a lace cough and then I would have lace coming out of my shirt. And that would be the same feel as that green sleeve I just showed you. And while I did find several different listings for pretty vintage lace, and I thought I can make my own lice cough, which I still may do with the bundle that I found for pretty cheap, only paid a couple dollars for that. I did end up coming across these larger cuffs and they're amazing. So now this is one of my favorite go-to props for hand in the frame photography. And you can find something like this, possibly by either making some yourself with some old life in just a sleeve of irregular shirts you have today. Or getting a costume dresses at the antique market, usually they're pretty cheap. I don't I actually borrowed the green one from a friend of mine. But she's pretty cheap, so I know she didn't pay more than 30 or $40 at the most for that. I have a blue one that was real pretty that I got for $20 at the antique market and it's got pretty sleeves. And then these I think I might have paid $20 for, so they weren't cheap, but they were definitely worth the investment. So think about what you're going to have on your arm to add to the photo that we're taking a day. And the easiest thing to find for old costumes is all cotton gowns. And they always have a pretty sleeve with a pretty cuff on it. So I'm going to be using those. You can stick your hand in the frame with nothing on your arm if you want to do that and that's fine too. I just like the extra element that a piece like this adds. So that's my setup today. So that's my little props Beale. And then in the next video, we'll style this set out. 5. Styling our setup: So let's go ahead and style this set out. I'm going to put all the keys away except for one key. And we'll use the one key as our product key. And then we'll just move all the other keys out of the way. And I want to spread the papers. I've already just got just a stack of books back here. And I just want to spread the papers out a little bit haphazardly. There's just an under background element. And then I want to open the book to a random page and we'll have that book there. And then depending on where positioned and we'll be able to see that in a moment. I'm going to have my hands coming into the frame. So that's my styled set. That's what I'm going to be shooting today. So pretty easy. Setup their fuel papers, your book, open a key and some sleeves, and you've got a fun set to take photos of. 6. Lighting setup using natural light: Let's talk about the lighting. I just styled the set. Let's talk about our lighting setup. I'm pulled near the window. It is kind of early in the day so I can see the sun really shining in on the window right here. And so I have my photography diffuser in the window today. And a diffuser is the center part of a reflector. So if you buy a photographer photography reflector that's got the white and the black and the silver and the gold sides seek or reflect light when you take that reflect or cover off site a switch sides for different colors. This is the center of that. So I have taken the reflector sleeve off and just use the center part as my window deflect are there. And it's diffusing the light for me so that the light coming into my scene is very soft instead of very harsh. And it's early in the day and I'm in, uh, east facing windows, so east facing window is good for morning shooting. West facing window would be good if you'd like to afternoon shoot north and south. Kind of questionable. Depending on how much light you have coming in, depending on where your houses kinda shifted towards, you might kind of work your setup at different times of the day to see when the light works best for you. Or maybe you'd be willing to sit up on a tripod if the light's not strong enough or look around your house for another window to maybe work in if you're just not feeling the north-south window. So today I've got all the lights in the room off and I'm only using the natural light. And because the light is so bright, the sun is shining, it's not hiding behind any clouds. I'm not supplementing this light on the light side with anything. Sometimes I supplement that with photography ring light. I'll put the ring light over there. And you've seen that in a couple of my other classes, I'll put that ring light over there and supplement the natural light because I love natural light. And today I'm not going to use a black card or white card to reflect or take away light. But a lot of times I do have my black card, my white card available. And if I wanted to use that card to further manipulate my shadows and my darkness going on in the scene, I would have that available to manipulate the light. Because early on when you're learning how to do sets like this, you're not really thinking of that. You're kind of thinking of all the other elements to get the photo. But the longer you do it, and the more you practice, then you start thinking, how can I start changing up the subtleties of the light and make it just a tiny bit different than I've done before. And you start then having fun with the light and using different things too. Manipulate the light and where the light falling on your set. Today, I'm not going to be using the white car, the black card. I'm going to go with the amount of shadow that I'm getting as I'm halfway down the table, I'm not sitting directly in the window Normally I'm pulled right up to the edge of the window, but I'm halfway down, so we've already got a diminished amount of light on our set. So it's already going to be nice and moody. And we're going to shoot with the light setup that we've got going on right now. 7. Shooting Tethered: So in this video, let's talk about my cameras set up for a moment. So I'm actually using a tabletop tripod, which I'll pull back in a moment and show you. Have my camera mounted to the tripod and I wirelessly tethering with a cam by wireless tethering device. And I'm doing this because my camera doesn't have Wi-Fi already built into it. So if you've got a camera WiFi built into it, you might be able to just go ahead and use your cameras Wi-Fi and the cameras app and tether that way. You could also tether with a cord hooked into an iPad or a computer. And tether that way. I saw this years ago, the cam phi CA MFI cam phi saw it years ago, used and thought a-ha, That's what I need and I've had it for 45 years now and it's been working great every time I've needed to do it. You just gotta make sure you plug it in so it's charged every time you go to use it. And this just kinda plugs into the side of your camera. And so right here there's a cable just hooks on the side, and then it puts out a Wi-Fi signal. And then the Wi-Fi signal, we pick up on our iPad or a computer or whatever it is that we're looking at. I'm using so I'm using the iPad. And so what I have to do is go to my Wi-Fi signal outside of the app and connect to the cam by Wi-Fi. Not my house is Wi-Fi. And then that will let the cam by wireless tethering device talk to the cam by app on your iPad or your iPhone or your computer or wherever it is that you're tethered into. And we're doing a live view right now. You know, this is, this is live. And what I love about it is now I can see what I'm taking a photo of. So now I can actually see what the camera's focused on. I can see what's in the frame. I can now stick my hand into my sleeves and I can decide how I want to take this photo. I've got the key. I can decide how I want my hands positioned. It's really important to look at what your hands are due and you don't want them to look weird and awkward. You want to kind of think of them as classical hands like you might see in a painting. And think, how can I make this the best photo possible? How can I position my hands? I've already put olive oil on my hands so that my fingers come up moist. And then what I'll do and it's upside down. And so I do when I'm actually taking it kinda have the iPad laying on the desk so I can see it right side up. Everything's about where I want it because I did a little test shot and then I hit the timer function on here. And I want to be able to hit the timer. Come over here, have a few seconds to decide how I want to position everything, then let it take the picture. If I just take the picture, like it is, there's not enough time for me to get my hand from over here to over here before it took that picture. So I'm kinda like, well miss that opportunity. So I like to do the timer and then I'll hit the 10 seconds personally, because I want to be I want to have a few minutes to decide what I want to do here and just try to get the best, most elegant look to my hands. And then if we go over here to browse, we can actually see the photo that we just took. So I can now come back here to the latest photo. Take just a moment to talk to my iPad. And that's the photo that I just took. And you see how much light that we have on there that you might not have realized. So that's why I wasn't adding more light in here. And when a process that we'll get a nice dark and moody look to our photo. But that's super fun and that's how easy that is to tether. But you just have to have the right tools, everything connected and setup. And then we can see what's in the frame. I can go right back to the camera. I can go right back to lie view. You've got to make sure your camera is still turned on because of the camera turns itself off, then it can no longer connect. That'll say camera disconnected right up here. But so make sure the cameras on like you actually hit the power button to make sure you've still got it on and focusing on something. And then we're ready to come back, take another photo or I can zoom in and make sure that my focus is set correct because I like shooting on these heartlands, is that our manual? So, you know, I gotta make sure that it's not an autofocus lens. So I need to make sure that however I set that, I'm going to be able to see my focus. And so then I can just zoom back out. And you'll want to practice with hand position on these. And just decide, you know, what looks elegant, what looks good. You Want to Hold Your Hand and the other book in your hand and have just a couple of fingers out here. And then you can take that photo and then try again. So it's really easy and fun to tether. And once you kinda get the hang of it and you realize how fast you get a good photo rather than blind shooting, say with a remote, trying to get everything in the frame and hope it looks good. I know it looks good before I've snapped that picture. And I love how how much more working smarter than harder, that became. How much more precise I wasn't getting the great photo in one or two takes is really as a nice way to photograph. And what's really nice too is you can look at it this way. Also, I have discovered the timer function on line disappears when I go this way, but I can see it a lot bigger. Which is really important because as you get older, your eyes are not as good. And the bigger you can see that picture and what you're getting, the better. All right, I'll see you back in class. 8. Tripod options: Okay, As promised, I have pulled back a little further to show you the gadget sitting on my table. So I'm talking about this large U-shaped frame. Then I have the camera mounted to and what that thing is is a table mount, a tabletop camera mount by glide gear, GUID GAR, glide gear. And they do several types of camera amounts for tabletops, I noticed one where it was just a single rod and that kind of telescoped out at a 90 degree angle, mounted to the back side of the table with clamps, some type of clamping thing. And that's fine. But I got this particular tabletop mount because I like to film art workshops to, and this sits on the art table. And let's me film down on my hands when I'm creating art pieces. And then after I had it for awhile, I was like, haha, this is great for doing top-down photos. Also, the little easier than using the tripod with the boom arm, which I have one sitting right here. This is the boom arm with the tripod can move the camera a tiny bit. This is a tripod with a boom arm. So it is an arm that comes and telescopes out 90 degrees if I need it, not mount the camera to that and the camera could face down. And in half the stuff I do, I use that tripod. But in everything that fits on the table and then gets everything in my frame, I use the tabletop mount because it's just got two legs. It's fairly large. It's large enough to get a good amount of stuff in frame with 56 millimeter lens that I have there. If you have a zoom lens like 20 to 70, you'd get a little more in frame. Have you had a 50 millimeter lens? You'd get a tiny bit more in-frame than that 56. If I was using my really long lens, like my vivid 85, then I'd be really tight in on what's on that table and I'd have very little in frame. So the drawback to using the tabletop mount is that the legs of the male and I guess you could say on each side, like they don't go taller. It is what it is. It's the one height, the one width. And you can use it or not, depending on how much you need to have in the frame and what lens you have on that camera. When I'm shooting art classes, I can use a zoom lens and I can pull back to the 28 millimeter. And I can get my whole three feet of table that I need in the, in the, in the screen I can get all that in. And so it's plenty for me. But I did happen to think after I got it, that it would be nice if those sides had been adjustable and I could have gone up and nail and if I needed to. But that being said, that really has been the single most useful tripod table mount that I've tried because I've tried a couple that mount to the side of the table and telescope out and the camera was too heavy and that didn't hold it up. I've tried to mount set my regular tripod on the table with the legs sitting on the table telescoping out and sometimes the legs are in my frame. And so the little glad gear table mount and eliminated all those issues that I was running into with a tripod. So it is a fun and gadget if you have the budget for it, or if you think you're going to be doing it enough stuff with it that you can justify getting that. It is the most magnificent mounting thing. And it's great if you'd like to film workshops where you have to be filming on your table. 9. Shoot Recap & Editing in Lightroom: All right. Let's just take a look here. A few of the photos that I took during this set, I was keeping in mind where I had the key, where I had my hands positioned. I wanted my hands to look a little more elegant and kind of like a, a classical painting. Like their hands are very elegant and classical and paintings. And so you might look at hand positions of Old Masters paintings and just kind of get an idea. You just want your hand to be elegant. You want the fingers to not look like they're doing something strange and something's broken or splayed out or they look weird. I was just trying to keep in mind those different things and why I had my hands wear a hat. And this one's maybe a little less clear. It's kinda sitting in the middle of the photo like I'm about to grab something. But I was just experimenting and playing. And I really liked that one there too. And I like this one with my fingers down here. And there's several I took that I really, really liked delicious to edit one and see what we've got. So I'm just going to adjust the exposure. I might even hit the auto button and see if I like what the computer thinks and that looks good today. Sometimes it looks great and sometimes it looks terrible. But let's just go for it today. Maybe I want to add a tiny bit of clarity. Maybe want to yeah. Like the vibrance right there about 15 or 16 up. I like when the auto, how it sometimes makes it a little more vibrant, but it doesn't adjust the saturation. I don't like the saturation being up because it makes things really orange and terrible. I just don't like it at all. I'd rather be desaturated than to have any saturation added. Some usually leave and the saturation at 0 or taking some saturation away. So let's just drop some points here on our curve. I just hit those major points there. And then I'll pull it up a little bit because I want it to look a little more film like my own personal preference. You'll probably see me do it in every editing video, every day. It's my own signature style and preference when I'm editing. If you don't like that, Matt feel that film, look, don't do that. You know, leave your curve point at the bottom. But I don't like it. So it's something that I tend to play with. It's part of what I love. So I might come up a little bit here on the upper curve, maybe pull that down a tiny bit and see to me that's really beautiful. And I could just play a little more with these curves where they're at. I could add more points if I need to, if I need to pull a little bit out and I'm just kind of eyeballing it and deciding yes, I like that or No, I don't like that. It's all in a little bit of play there. If I needed to bring out a color or like something more vibrant, I could use the hue saturation and luminance panel, but this is not really a colorful photo. It's more monotone with the browns and the skin tones and the white. So I don't really need that panel. In the color grading. I do tend to like to add a little bit of blue to the shadows. I don't know that I'll do it well, now that I'm doing it, I like it. Sam, us, I'd say it might not work as good for this photo. It always works flowers, but that little bit of blue undertone knocks out a little bit of the yellow that we had in there. So yeah, I like it. I'm going to add some sharpening. And then I will come down to my masking. It's already enough point that I can see what sharpening. But if I didn't, I could pick the pointer and I could pick a point out that I wanted to highlight. Instead. I can up the sharpening wherever I thought I needed it. And then if you hold down your Option Alt key, you can mask that so that only the details that you need sharpened are being sharpened. Otherwise you add a lot of extra grain. If every pixel is being sharpened, it gets very grainy. And you really want to do that. And then I like to add little bit of vignetting. I like a wide MIP midpoint. I want it to be a fairly round then yet and I want to feather it really good. And then I'm going to come back in a little more maybe and just play with that where I want it. So I just want a little, I just want that tiny bit of darkening at the edges to pull your eye into the subject. That's kinda what it's used for in more traditional photography. And there we go. I think I am happy with that. I might tweak the whites and the highlights a tiny bit, just visually deciding where I love it. And I think that's good right there. And then what I like to do too is then I like to save a particular preset. If I like how it turned out, I will create that as a preset and just call it my favorite presets. And whatever number I happened to be on, I'll just name it that. So we'll call this number three. And then I can go back into my presets that I've created and I can test out different looks and you can see if I just hit the reset button. And if I come back over here to my favorites, how different each of these that I've saved previously. How each one looks completely different than the one I just created. And it's a really nice way to kind of create presets that are your signature look, looks that looks good on your photos. The way that you tend to shoot. And the more that you create, the more Signature little presets that you could then use and go to to create different looks a lot faster for yourself. I love using presets because it gives me a jumping off point on new photos, a little faster sometimes an editing everything from scratch. So just something to consider as you're manually editing things, save those presets that you like, the settings on that photo, save that as a preset and then later you can come back and test them out and see, you know, maybe they look amazing on other photos that you've created. Alright, so I hope you enjoyed this setup today, hand in the frame. It is one of the things that I love to experiment with myself. And that's not something I started off photographing early on. I didn't photograph my hand in the frame for years and years and years. It's really only something in the last few years that has fascinated me. And I have made a concerted effort to figure out how to take really good hand and frame photos. And the setup that I have today is what I have figured out works best for me. So I hope you enjoy given some of these tryout and I will see you back in class. 10. Final Thoughts: So that was a lot of information that we covered in this class, from tethering to hand in the frame. And I hope that you've got some really fun tips and tricks that you've gotten out of this class that's going to make some hand in the frame or hands self portraiture. A little easier for you, easier than trying to just hold the camera up here and snapped a photo, or maybe easier than trying to get your tripod up there and and hit the remote, not really knowing what you're doing. I hope I've simplified some of this process to get the perfect photo really fast and easy. And I can't wait to see what you come up with for your class assignments. So don't forget to go back and take all your photos and decide which one is the best and come back and share with us one of your hand and the frame photos. I'm looking forward to see you in that. And I was so glad to have you in class today. So I'll see you next time.