Still Life Photography: Using books to inspire your setups - The Star Merchant set | DENISE LOVE | Skillshare

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Still Life Photography: Using books to inspire your setups - The Star Merchant set

teacher avatar DENISE LOVE, Artist & Photographer

Watch this class and thousands more

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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 (37m)
    • 1. Introduction

      2:34
    • 2. Class Project

      0:45
    • 3. Book Inspiration - The Starless Sea

      3:25
    • 4. Props I'm Using In This Setup

      3:32
    • 5. Styling Our Setup

      2:19
    • 6. Lighting and Camera Settings

      13:29
    • 7. Shoot Recap & Editing In Lightroom

      8:31
    • 8. Final Thoughts

      2:28
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About This Class

Using books to create still life setups has become a new passion. I love the thought of illustrating passages with our photography setups. Just like an illustrator adds some drawings though out the book to invoke your imagination, I want to use photos to do the same thing. I want to be so inspired by a passage that I recreate what I saw in my mind when I read it. Or if I am using a less descriptive book - I want to use a time period to create what I think a scene looks like when you read it. It is taking your storytelling skills to a new level and creating a deeper story behind the stories you build with your photos.

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 the simple props I came up with and the passage in the book that inspired them.
  • We'll talk about the lighting and your camera settings
  • 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 leveling up your storytelling skills by illustrating a story with your photography setup.

Required Gear: A camera. You can do still life photography with any camera you have. A few props to tell your story, a book or passage that inspired your setup.

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Meet Your Teacher

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DENISE LOVE

Artist & Photographer

Teacher


 

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: Still life photography is my favorite kind of photography. And if you've taken several of my classes already, you can tell. I truly enjoy pulling together a story by a window here in my studio and really telling the story with the props and the fun elements that I can dream up to pull together. And in this workshop, I'm going to take that inspiration from a book. So we're going to be illustrating a passage in a book if you want to say it that way. I'm Denise love and I am a studio photographer based out of Atlanta, Georgia. And this idea of pulling together stories from passages that are read and books came about when I was reading the star plus c by Aaron Morgenstern. And that book is so beautifully descriptive that I could instantly imagine every setting that the characters were in. And I thought, what if I could pull that together in a still life here in my studio and actually visually pull that story together. And a friend of mine was reading the star legacy as I was randomly posting some of the stories that I was creating here in my studio. And she's like, Wow, that made that story so much more interesting to read, watching you post some of these illustrations for passages that I just read. And that really made me excited to continue along in this. And some books are easier to do than others. Some are very descriptive and you can immediately imagine the prompts in the setup that you wanted to create. Some are a little more obscure and maybe there's less information and the character dialogue is what's driving that story. But this book that I'm using today is very descriptive, very exact in the items that you could then search out and pull together. And that's what I'm going to show you that I've done today. We're going to illustrate a passage. I'm going to show you the prompts that I've come up with. Talk about the settings that I create and then edit some in Lightroom so you can see what we've got. One I'm done. And I hope after you watch this class, you'll be inspired to then be inspired by some of the things that you're reading and say, Okay, now I can truly come up with a setup that has a story behind it. And let's see what I can create some pretty excited to share this with you. I can't wait to see what you come up with. So let's get started. 2. Class Project: Your class project is to pick a passage, whether it be the one that I'm demonstrating here in class, or a passage from your favorite book that you want to illustrate. Pick a passage and come back and share with me two photos that you've come up with from your still life setup. So two photos, any, any way you want to do it, you can do a pull back or a detail you can do to pullbacks. You can just, I want you to come back, tell me the book that you have decided to illustrate. Maybe pick a passage out of the book that inspired you and then come back and share two photos of that setup. All right, see you in class. 3. Book Inspiration - The Starless Sea: So let's talk about the inspiration for the setup that I'm going to do today. It was inspired by a passage here in the star plus c by Aaron Morgenstern. And I love this book. It's my favorite book to pull passages from. It's very descriptive. I can really picture exactly in my mind the scene that's being described and how I can relate that to a still life here in my house. The other book that she's written is the night circus. And it's another one that I have taken great inspiration from a man. I hope this lady writes another book because they have been my very favorite for still-life inspiration here in my studio. And the passage that I'm inspired by today. This is on about page 133 here in the book. And it is a story about a star merchant. And it says, Once there was a merchant who traveled far and wide selling stars, this merchants sold all manner of stars, fallen stars and lost our old stars and vials of Stardust. So I've got some of that ready. Delicate pieces of stars strung on fine chains to be worn around next and spectacular specimens to Fit, to Display under glass. Fragments of stars were procured to be given as gifts for lovers. Star dust was purchased to sprinkle it sacred sites or to bake indicates for spells. The stars in star merchants inventory were carried from place to place in a large sac. And the pieces. Everyone wants the stars, everyone wishes to grasp that which is out of reach to hold the extraordinary in their hands and keep the remarkable in their pockets. The star merchant has a biogas stars and he's got a whole stars and stars on chains and star pieces and star dust. And that immediately made me think, I need a star setup. I had been reading this book somewhere around the Christmas holidays or at least sometime or when all of the decorations were out in stores. So really it could have been October since the Christmas stuff gets out earlier and earlier it seems. And I happened upon just some star Garland. And if you're out looking and you're like, I simply cannot find star Garland. It's not a big deal. These are pieces of cardboard covered in glitters. So you could definitely get creative and cut some cardboard and get the glitter out and the glue out and make your own version of the stars. And so I am going to use the star Garland and some Biles of glitter to represent star dust. And I'm going to take some photos here at my table. This type of setup is a little simpler because our main focus could be the star. So I could leave anything set up around my table and just take pictures of the stars and the star dust, which is my plans. So I was inspired by this passage and let's see what we can come up with. 4. Props I'm Using In This Setup: So let's just take a look at the prompts that I have pulled together for our star plus c star merchant setup. So in the passage that I was reading, the star merchant is sitting in a lounge area talking to a fellow traveler. And so in my mind I thought, okay, I could have a little setup like there's maybe a bookcase beside them and we're on my table. And I'm just going to use the crate that I like to shoot in as mofo bookcase. And I've got some old books lined up and a little piece architectural element there. And those pieces aren't really the focus of this setup. So it's not really important what I have in there, but I could make it important. It could be part of the focus. It could be, you know, some of the photos that I'm taken, they could be very important. But it's, uh, it's kind of a backdrop for other sets that I've done. And I can use it for this two. So I take it down. I didn't like when I have an idea, especially for like a background prop. And then as I'm thinking of other ideas, I thought I can think, I can leave that there and continue on with my next set of photos. And so this piece is going to be that I had it kinda on the table already for some other things I've done. And what I'm gonna do is I have put some little thumb tacks in the top of the crate so I can string the Garland and R have some star Garland. This is just star string and wire. And if you can't find a star Garland, because the wrong time, a year or whatever this is, the kind of thing you find it Christmas. That's okay. These are just cardboard stars. You can use card stock and glitter and make your own stars. And you could string it on a little bit of twine and make your own star Garland and cut some of them in half to be star pieces and cover more glitter. And then we've got our pieces and our Garland, which I'm going to be having for these sets of photos. And then I got a container of gold glitter, which after I got it, I realized that the gold glitter and the silver stars weren't quite the same. I should have got silver glitter, but the silver glitter had been out of stock and I was in the mood to shoot photos with glitter and the gold was fine. So this is going to be my star dust. And I got some of these wonderfully beautiful little vials off of Amazon. And these are just little glass Biles. This is the five milliliters. Milliliters size. There's a 10 mill milliliter size is about double the height, but I like this size. So some little glass bottles, you could probably find these at the craft store also. If you were looking for something like that, If not, I got a little set of him off of Amazon and they were not very expensive. And I'm going to have, you know, maybe positioned on the table. Maybe one of them open, maybe some glitter kind of out on the table. So the basics of stuff that I needed to have, stars and glitter. The other parts of it is probably going to be Ambler or just be background elements to enhance my story. 5. Styling Our Setup: All right, so let's go ahead and do our little prop styling. So I've already got my little bookcase here. I've got a couple of little thumb tacks just kind of sitting in the top of my crate. I just lightly push them in and I'm going to simply run the Garland up and down a little tax. And that way I can take some photos of the hanging stars and then some photos of the stars on the table. This garland is wide enough for me to kind of do that like that. And then I can cut some of these stars up and we'll have a couple of stars on the title itself. And so we can just do that with some regular kitchen scissors. And so I'll probably just cut a few of these off of the end and cut them in half and let him be star pieces. And then I'm also going to have out here on the table vials of glitter, maybe one that's opened. And I have a little extra glitter here. And let me tell you when you do this. Glitter gets everywhere. And then take some photos of the glitter, the pieces, the Garland. If you've got other architectural pieces that you've collected, you could include those bits as just pieces of the building and the area that you're in, just to kinda imply place or time or theme or anything like that. So I think I do like this piece to, I could take a picture and maybe some stars hanging on it. It's another architectural, it's the capital of a column, I think, some fun little piece there. And that's basically my setup. And then I'm going to be shooting today. I'm going to shoot some photos of the stars kinda towards the books. And then I'm going to shoot some of the glitter and maybe sprinkle Several more cut pieces around. Take pictures of those, and just see what I can come up with. 6. Lighting and Camera Settings: So I've pulled back a little bit, so let's talk about the lighting. So I'm set up in my studio by my east facing window. And if you've taken some of the other still live classes that I've done. You'll know that an east facing window, you have the sun shining into the window in the morning. That's the side of the house that the sun is rising on. And then as the day goes on, the sun gets to the top of the building and starts to get to the other side of the building after lunchtime. And then on that side of the house we have a west facing windows. Those are the great windows to be shooting at in the afternoon. And then if you've got a north-south window where you really don't have direct sunlight shining in the window at anytime of the day. That should be good diffused lighting all day long. So you just need to try to shoot in those windows just at different times of the day and then see what Tom's of the day you prefer to shoot in. And a lot of times when I'm doing sets or a workshop or things like that, I like to work in the morning. So I get up, I take care of the puppies. I eat breakfast, and then maybe I get up here to my studio at nine o'clock when the sun is really shining right in that window. And so then I need to Use the light because I don't want really harsh sun on my set. I want pretty diffused lighting. So in the window I always have this round photography diffuser. It's the center portion of your reflector. And you just kinda take the outside cover of the reflector off in that center portion, is that pretty round, translucent kind of white fabric on it that fuses the light and makes it beautifully perfect. But you'll notice today that I've kinda got that diffuser sitting on the floor and a little bit out of the way. It's not completely in the window blocking the light. And we still have pretty diffused light. And that's because I'm up here in my studio after lunch. It's about one o'clock. It's going to be too dark to photograph if I stay up here too long. But, you know, I could stay up here for a while and shoot this because the sun is now on top of a building. It's no longer shining directly in that window. And I can take the diffuser is out the window and just use as much light coming in the window is I can get. So that's what we're gonna do today, is shoot in the diffused light with the sun on top of the building. Instead of coming in the building. And we'll just see what we can get. And you just have to judge what time of the day is best. When do you get enough light? Do you need to diffuse that light? And if you're in a window that you don't normally shoot in at a certain time of day, are you going to have enough light to handhold if you're trying to handhold, can you get that aperture and shutter speed and ISO and a setting that you can be happy with, or do you need to set up on tripod? Because the lower the light gets in the room, the more likely I am to have to set up on a tripod because I normally like to shoot on an F4. So I like a lot of blur and I figured that out by taking a set of aperture photos. I took a photo at F 2.83.5, F4, F4, 0.5 at five, at 5.5. Because the lens that I like to shoot on has all those aperture choices. And then I looked at them on the computer and I'm like, okay, I love F4 for most of the stuff I'm doing here on a still life table setup. If you're doing macro, that might have to be an F8 to give you the same number of blur because macro photography, the plains of focus are a lot closer together in still life, tabletop set up maybe the plains of focus or a little bit far away so I can shoot on F4. So when I talk about shooting and liking to shoot wide open, that doesn't necessarily mean that I'm shooting at the widest open my aperture will go because say like on my Lensbaby velvet lens that I like to shoot on my camera, the widest it'll go is a 2.8. But what that lens, a 2.8. You don't have enough in focus. And it's really glowy. That lens makes an odd glow to the photo, which is a, as a, a purpose bowl effect of that lens. But I love the velvet because it gives a really pretty velvety look to the whole photo. And the blur is real pretty almost as if you were in Photoshop. And you'd put like a real soft Gaussian blur on top of your photo and you just got that almost just that dreamy look to it. Well, the veil that kind of creates that look coming out of the lens. And I love being as creative as I possibly can coming out of the lens. And so I know that F four gives me that pretty creaminess. If I go up to FAD or F11, it's more like a standard lens. So I know when I'm shooting, my camera settings need to be at F4 for the amount of blur that I like. And then the ISO, which is how sensitive the camera sensor is, needs to be at one hundred, two hundred or 400 because I don't want to add a lot of extra grain. And the higher you go with the ISO, the more grain you get. Unless you have a camera that's a little higher up on your camera line that is made to go to be able to push that ISO for low-light settings and not give you lots of grain. That's a real advantage to pro cameras versus consumer grade cameras, is they have that better low-light capability. And so if I know the setting of two, the, the, the ISO say 400 is what I'm going to use today. And then I know that I'm going to be shooting it to f 4. Then I just need to decide how much shutter speed to get the proper exposure, how faster the shutter need to go to let enough light in so that it's properly exposed. It's not blown out and overexposed. It's not real dark and underexposed. Because when you shoot overexposed and underexposed because you haven't figured out exposure like I did early on and you think I can fix this in Photoshop or I can pull those details back. Sometimes you can't pull those details back. Like those details aren't there when you take that picture, you may not get those details back. And even though you can adjust exposure in Photoshop, and I always slightly adjust exposure even though I'm shooting for correct exposure. If you have it too dark or too light, you've just lost that information. It's just no longer in the pixels. It's either black pixels are white pixels and there's no coming back from that. So the goal for me is to get the most creative, the best composition, the good exposure, as much as I can do up front. So when I get to Photoshop, I'm just tweaking a little bit and you can watch me do a whole edit in just a couple minutes and get the most beautiful photo. I'm not wanting to spend hours on the computer trying to fix things I did or make it better, figure out composition and cropping out half my pixels. I'm just not that computer sitting person. I want to get all the fun done on the front end. And then take 1000 photos that are amazing. And then go to editing and be like boop, boop, boop, and we're done. I don't want to spend all day on the computer. That's just not my thing anymore. So if you're not used to shooting on your computer, on your camera, on manual mode. Then figure out what aperture you like, how much blurred you want. If you don't want any blur, then started F8. If you want a good amount of blur, F4 might be a good choice, or F2 0.8, or F 2.5. Just figure out how much blurting and aid, how much in-focus do you need your subject to be? Because I do like my subject to be in focus and the blur around and pretty blur in the background. And that's how I decided about F4 was what I liked. Put it on AV mode, on your camera aperture mode, and set your aperture at F4. And then you can let your camera figure out the other settings for you. The only thing I don't like about letting the camera figured it out for me is then it's likely to push the ISO higher than I intended. But early on start an aperture mode and then advanced towards manual when you know what settings that you feel need to be set in stone. And then the only setting that is variable is the shutter speed. And if you're shooting at least 160th of a second or faster, preferably more than 1 100th of a second, you can probably handhold and get a tack sharp subject. But if you're slower than 160th of a second because it's low light and you just can't get more light in, then you need to set up on a tripod and let the shutter be slower. Because if you're shooting a, say, 150th of a second, 140th of a second. There's just no way that you're going to get a tack sharp, sharp subject. The camera moves slightly and the shutters not going fast enough to kinda compensate for that extra little camera shake that you got going on. And your photo is going to be blurry and not in a good way. And that's not something you can fix in Photoshop. So we're set up here in the afternoon just because I wanted to get a little different light setup for today. And then if I don't have enough light and I'm shooting long enough, I will be compensating the light with my photography ring light. And so I have a ring light and it's lighting are set right now so we can see it. But I like the 18 inch LED ring light with a flexible head because then I can get that light right where I want it. And I like to supplement the day light. I don't like to just shoot was studio lights in a dark corner of my room because the studio light, even though it's a daylight color, it's not as all infusing as the daylight is. And I feel like it's very directional and it's very cut and dry where the light is, where the light's not. And I just don't love it. But there are occasions where you need extra light. And so this is the way I have decided to supplement that light. And I like this one with the bendy head because I can then bend it into my set right in front of the window and it doesn't take up nearly as much room as a photography soft box and I have softbox lights also because I'm the kind of person where I had to try them all before I figured out, okay, this is the one that works for me. And the soft boxes take up a couple of feet. They're huge. And when they're set up here in my little tiny studio there in the way everywhere I go. So I either need to put them together every time I want to use them and take them down when I'm not using them or this room is just not usable with the two of them set up. And I figured out that the ring lights work for everything I can light video, can light myself when I'm talking on video, can lighten the art table. When I'm making art. I can lighten the art table when I'm feeling art workshops, I can supplement the light from my photography setups and I could put the ring light right there in front of the window and it's so thin, it's only two inches or so thick that I can leave my setup right where it is, and then I can fully adjust the light to where I need the extra lighting. And the reason why I like the LED over the fluorescent and really doesn't matter what kind you buy. But I'm gonna tell you I prefer the LED because I had a fluorescent ring light and it had a fluorescent bulb in it. And I was moving around the room and I knocked it over and it hit the floor and the bulb busted. And the LEDs don't have a bulb like that. It's like a flat piece of metal with little tiny lights that are attached to the metal. So if I knock that over, I'm not breaking my whole light bulb. That is then if you can find them there over a $100 a bulb, that one or two places that I had found a price for it. And they didn't have stock. Some like it's a 100 bucks and it's not even in stock, so I may not be able to replace it. And I got that hole. This whole setup, the whole thing with the bendy head was only a $100. So I'm like, Well, I guess I'm getting the LED one and I have two of those now. And the LED and the fluorescent put out the same color of light. But I just prefer this one because if I knock it over, I don't break the bulb. So get whatever you can find. If you don't get the Bindi head, It's not a big deal if you could just means the light sits straight up instead of being able to bend where you need it, but it's still very handy. So that's how I'm going to supplement the light today. And the fluorescent one does not fully dome, whereas this one goes from fully dim to fully bright. So it is much more versatile with the dim ability of that, of the LED. So I love that one. Alright, so now we've got our setup. We've talked about our lighting. I am going to start shooting some photos here before. I'm just completely out of light because the sun is dipping down on the back side of this house today and we'll just see what I get. 7. Shoot Recap & Editing In Lightroom: So I was very inspired by the glitter and the stars. And I just moved around this set. There's that little architectural piece I was showing you. I just moved around the set and took different photos to see in the end which ones were my favorite. And I'll show you some of the favorite, but I'm just kinda shooting through some of the photos to show you just what I was thinking of and what I what I ended up taken. And then I'm not sure that I loved the wire that these were on. But I still love all the photos, so I almost don't care. Some of these are really fun. And at least the wire allowed me to move stuff around and reposition stuff so that there weren't stars behind stars getting lost and things. I do love this garland. And it's definitely a theme that I'll revisit some more because I love it. And I'm glad to have the Garland so that I can revisit for things like this little mini workshop. Because I've shot these a couple times now for different, different things I've had in my mind. But the stars and the glitter is one of my favorite. And yes, there is now glitter all over my house and me, and my hands. And I don't even hate it. So funny stuff. So let's just take a look now that I've kind of just scroll through and giving you an idea of some of the photos that I took and I was focusing on the stars, the details, the glitter. And then let's just hit these that I've flagged. And some of these are edited. I've played around with them. But I liked when the stars were kind of in a direction and something was in focus and we had to look around to see the details. And this is why I like the books and the background copy. Those are just sitting back there. And I like the glitter and the stars on the table. That was one of my favorite. And just as I was taking portrait orientation and I was taking landscape orientation, and I was just trying to get as many glitter ideas as I might have been thinking about as many star ideas as I could. And then come back and edit a few and see what's going to end up being our favorite. So let me edit this one. This one's not edited. I was playing around with some of these others because I just loved them so much. I'm going to tweak the exposure. And let's just see what the Auto button says. So the Auto button is too bright for me and I'll pull that back down. I'm going to leave some of these other settings where they're at and just tweak them. And then I'll continue to go on down. I'm going to put some points down in our point curve and start playing with that because that's how I add extra contrast, extra moodiness. It's how I make them look a little more film like when I pull that dark point up. But if you don't like that matte, look, don't pull that point up. Sometimes I'll pull the light point down, up here. And that just kinda adds to the overall kind of vintage film look that I'm going for. Or maybe I just like the matte matte look, I just do. I just love it. Sometimes I'll come over here in, pull in a little bit of blue and my shadows with my color grading. I'm not really feeling that today, so I'll put that back on it 0. And then I'm definitely going to sharpen. So I'm gonna take my little piece here and just see what is Sharpen here that I can kinda judge this by. And I'll up the sharpening and then hold down my Option Alt key so that I can then mask the sharpen. And you can decide how much of that detail that you want. You can change the radius. And I'm holding down the masked key so I can kinda see those details. You can see it in that light gray there. Some of that is just your own judgment and what it is that you're wanting for your sharpening. But for the basic, what I do is I'll just up the sharpening and I will mask just the details that I want sharpened. So I don't want to sharpen every pixel in the picture that really adds a lot of grain to your photo. And I'm just not interested in adding all that extra grain. So I'm gonna come down and add some vignetting. I liked the midpoint to be kind of large. I like it to be fairly round and I like it to be feathered so that it's not a sharp, harsh vignette. So I'll push that up pretty high until I get it where I want. And then I will go back up and start adjusting my exposure a little bit more. And the other elements here in that top box, I like to kind of get a starting point and then come back and start tweaking stuff. And then if I absolutely love what I've done, I will save that as a preset, and I will call it Denise is preset. So let's create a preset here, and we'll call this one. Some will call us when Denise favorites for and I'm putting it into the Denise Favorites folder that I created. And if you create your own preset or you're creating any sale, or you just want it to be really versatile for yourself to use these on other photos. Then the things that I have checked in blue are the things that I save. And so I don't say white balance, I don't save the auto settings, I don't save the exposure. And now these presets are going to be very versatile, more versatile towards your type of photography than if I saved things like exposure. Because if you save exposure and your photos underexposed, applying the preset is going to reset the exposure that maybe you've already adjusted and fixed. And it's going to look terrible until you go back and fix the exposure again. Whereas if you leave that setting unchecked, you can fix the exposure to where you want it, apply the preset or scroll through your presets and it won't reset that setting for you. So take note of those. This is the settings that I like to have a more versatile preset that I've created. And then you'll see that's fallen right down here into my favorites. That's number four. And you can see I've created some others and as I go through them, now I have a starting place of completely different presets for other photos that I've edited. Then I can scroll through and I love having presets because it's a nice starting point. Like, how did I get this color on this one? I don't know. It's a little bit richer. The curve is a little bit different. Now I can go through and tweak this preset to make it perfect for this photo. Or that one-click might've been perfect. Or I can go back to what I just created with less contrast. And in that one might have been perfect. So I do love saving the edits that I'll do on photos and you can call them your favorites or however you want to do that. And then you have your own custom set of presets to them play in. So I love doing that. Alright, so I hope you really enjoy this type of setup, illustrating a passage from a book, or playing in something as whimsical and fun is that I've created here with the glitter and the stars. So if you don't want to come up with your own set, a glitter star layout. I mean, who doesn't love glitter and stars? That can't wait to see what you create. And I'll see you back in class. 8. Final Thoughts: So what do you think? I hope that you are as inspired by this concept as I was when it came to me, like a lightning flash. You see different illustrations and book as little drawings and things that maybe an illustrator has illustrated passages out of books that lend themselves to the story and help your imagination along. And I thought, why can't we do this with photography? And if we're doing a book that's not as descriptive, maybe we can pull from the time period. Now that we know the book was set in and kind of fill in some of the missing details. Or if we pick a really descriptive book, we can take exact passages and say, here's the passage that inspired this set. And then we truly have a deeper story behind the story that we've created. And we've created some conversational points for people that didn't look at that and say, Wow, Yes, I see it and talk to us about. And so I hope this concept really excites you, him all about telling stories with my photos, creating stories with my still life. And this just kind of takes that concept one step forward, creating a story off of something that we've read and existing story that's out there that we can now talk about and illustrate in our photography. And I'm really excited to start reading books now and then be like, Oh, I love this passage. Let me underline it. Let me make a note about it. I want to come back to this. It really gave me a vision of something I could photograph. And it just kind of upped my level beyond create him rent, creating random still lives. Coming up with random stories. Buying a still lives are coming up with a story and then pulling all my props together to make that story kinda took that whole concept one step forward. Now I have the story. What can I do to illustrate these passages in the story? And it really kind of made still-life exciting for me again. So I hope you enjoyed watching how I do this and then going forward, kinda keep in mind the different things that you read. Did it inspire you? And if it did make a note of it and then come back and do a still-life setup about it. So I can't wait to see what you've created. Definitely go back to the class project and say, Okay, two photos. Here's what I created. Here's what inspired me. I can't wait to see what you create.