Stunning Food Photography: Editing tips and techniques | Edaqa Mortoray | Skillshare

Stunning Food Photography: Editing tips and techniques

Edaqa Mortoray, Programmer, Chef, Writer

Stunning Food Photography: Editing tips and techniques

Edaqa Mortoray, Programmer, Chef, Writer

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6 Lessons (31m)
    • 1. Introduction

      0:54
    • 2. Asparagus: Exposure, Color Temperature, Contrast, Sharpen

      8:04
    • 3. Dough: Curves, Contrast, Crop

      3:30
    • 4. Cake: Clone, Saturation, Contrast with Layers

      5:42
    • 5. Crackers: Rotation, Saturation, Contrast Darken

      6:24
    • 6. Eggplant: Crop, Exposure, Saturation

      5:56
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About This Class

Editing tips and techniques using Gimp.

In this class, I’ll show you how to give life to your food photos. Whether you’re publishing on social media or posting recipes, you need to have a vibrant photo to get noticed. I’ll teach you some basic techniques to polish your work.

We’ll look at:

  • Improving the lighting to get a bright photo
  • Giving more depth with contrast and sharpness
  • Cleaning up and framing the right image
  • Adding vibrance with saturation and layering

I’ll go through a series of five complete examples, showing how to select and combine the tools. These images and their sources are all available in the resources for this class.

I’ll be using the free software called Gimp for this class. You can also use Photoshop.

Let’s get you making snappy food photos.

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If you're interested in the recipes,a few of them are available:

- Cashew Cream Cacao Cake
- Kate’s Asparagus with Tomatoes

 

Meet Your Teacher

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Edaqa Mortoray

Programmer, Chef, Writer

Teacher

Hi, I'm Edaqa, a programmer, writer and chef.

For over 20 years, I've been following a diverse and exciting career path. My journey traces through several countries, filled with great people and culture. I've dedicated my time to numerous startups, and an abundance of side projects.

There's so much I'd like to share with all with you -- from programming to cooking, to the unusual creative endeavours.

I want my classes to give you the confidence you need to succeed, and the curiosity required to make the most of life.

Join me in my continuing adventures.

Recently I wrote a book "What is Programming", a dive into the fascinating profession.

I've also taken up the mantle of food stylist, as I started Edaqa's Kitchen last year. Perhaps soon ... See full profile

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Transcripts

1. Introduction: I am in a mortar in a warning. Evoke reading snappy food pictures through a series of examples. I want to show you how to give life to your food photos. I'm gonna go through the primary tools that we use in terms of adjusting the contrast, the exposure and the sharpness of the photos in the chapter. Lynchers a few of the tools a work through a complete example and show you how to make popping food photos that stand out on Instagram Pinterest, er, other social media. The images I work with in this class will made available to you so you could run through them if you want. Otherwise, grab a photo. You have as well. I'll be using a tool called gimp. It's free sucker, but they should work equally well in photo shop or other tools. All right, the first thing you need to do is find a picture of food loaded up in your editor and let's see what we can do with it. 2. Asparagus: Exposure, Color Temperature, Contrast, Sharpen: In this first example, we're gonna look at how to use the exposure optionally the color temperature, how to use contrast and how to sharpen the image. I'm going to start with a picture of experience. Now. I've got some good framing on this already is good lighting. Don't worry. If your pictures are a lot darker, a lot blurry or not is clear. The techniques I'm showing you will work for any type of photo to bring out the most that is there. Obviously, the original composition makes a big difference, but these techniques will help you bring the most out of what you have in your photo Already, something that notice on my screen is in the bottom. I have a history Graham here. This shows the distribution off the colors, and this is mainly for the intensity of the colors here. And this is for the luminous or the intensity of the colors, where the left is a dark area and the right is the bright area, and you can see it's focused a little bit in the center, and I am using the log rhythmic displays, perceptual space and log rhythmic because this, I find, gives a better indication of how this will look to the user. The first thing I do while editing photos is I always leave the original photo in the bottom layer, and I created duplicate layer of it. So I duplicate the layer and you'll see I have two layers now and it's the same photo. What I want to do first is a just exposure in this photo. It's rather dark. I can see that visually, but I can also see that from the history Graham here that the bright ends is not a lot in the bright ends. That means I have a lot of space to increase the exposure. So I'm gonna drive up to a level. Looks about okay, and I could see it's become brighter. And on the history am I can also see that that upper end has become a lot more filled out. Its move slightly the bottom end. But the operators a lot more filled out its a lot brighter, and this will show up a lot better if somebody scrolling through it in a feed. And it could preview on and off and see this becoming brighter and darker. One optional thing I could do with this picture is I can adjust the color temperature of it . This is not something I do with most of my photos. I have a lot of lighting that has a very white light. And I don't need to do is a lot of, um but sometimes you want to give a little bit extra warmth, the photo or you're another lighting. And the color temperature tool is very useful to adjust the lighting. So this one here, I want to say, Well, okay, maybe I want to make its lightly warmer. Should have been slightly warmer Now could be very hard to see the impact of this. And so in gimp. I like using split view, and then you could see the difference in the photos. And it's very hard to see in the video, so I would exaggerate a lot here so you can see the difference here. Now, this would be way too much, but you can see the effect that color temperature has. It gives it a warm review to it. And what I'm gonna do is I'm gonna drop this back down to reasonable temperature so I can see it here whether this comes through in the class and coding or not, we'll see. And I have a slightly warmer temperature and it's OK and this just adds a little bit of warmth, a home in your feel to it. As I said, I do not do this and most my food photos, though, but I have fairly decent lighting in my studio where I take the pictures. If I was taking him outside a natural light or in a restaurant, I might have to play the temperature. And this is a matter of feeling how much you want to just sit back and forth. When in doubt, don't adjust very much. Limit the amount. You adjust things to keep a more natural look. Now we have the basic colors. Correct. I'm gonna create another layer. And if we look the history Graham No, we notice there's still a lot of the dark end that's not been used, but our high ends been filled out and I want to improve the contrast to this photo, and this is one of the techniques I can use when I know I have more dark head available to me. I can change the layering mode to Durkin on Lee. Now you won't see me change here. But if I go into contrast now, I could improve the count Trust quite a bit. And by a dark and Onley layer you can improve the contrast without drowning out the high colors. So if I went back to normal mode, you would see all the high colors get a little bit washed out and over exposed. So this is why I chose darkened Onley. Because I know I have more space in the dark end so I can increase the contrast in the dark and only mood. You could increase contrast a lot more than you might in the normal layering mode. But if you go too far, you'll see you get an odd effects. So again, keep it really limited and turn the preview on and off so you can see the difference, and you could see it gets washed out. It's now I've added a bit of contrast. The photo This is one of the standard tools. Now, the last step I wanted this photos, I want to sharpen it up, and I'm gonna create another duplicate layer of this again. Remember, Since this is dark and only now I can't choose duplicate layer. I have to choose new from visible so it can take a copy of what I'm currently looking at and Cruz, a virtual version of that. This is not blend with the background anyway. The tool accusing for sharpening is theon. Sharp mask and give. You can find that in filters under enhance on sharp mask, and I have a preset for my food photos. This tool is similar to Instagram's structure filter, and it adds, structuring sharp. Is it Nice way The radius depends on the resolution or image. I'm working with a 6000 by 4000 image from, Ah, Deal SLR, and so I have to have a fairly high radius to see the effect adjusted back and forth until you find a value that's suitable for your resolution and the amount. I tend to keep a very fixed amount because I'm going to adjust capacity of it later. So I have the standard amount and again just play with this one issue. It is if we're going to split view, you could see that left side is sharp. In the right side. You may not see this in the actual video, but hopefully you can see it on your own. And so I'm gonna do this. I photo was a lot sharper now, one of things. It's hard to notice those if I zoom in, you can really see the details of it, and that's what the sharpened does. It really brings out the details of where the shining is, so if I turn it off, becomes blurrier a little bit. And so the the sharp it really brings out the details. And this is why it's one of the standard filters that I like using. Sometimes those sharpened over does it in this image start to look a little too artificial in a little to digital, And that's why I just capacity of the layer. I could turn the layer down to 75 or so, and this lets the layer below shined through. And although it's hard to see the strong visual difference it is, there it is in the fine details, and your nose is a bit soft around some of the edges, and it gives a little bit more natural periods to it. When I'm working with my photos, I like to save the entire layering thing. And let's like to come back in case I want to come back and adjust something or exporting your photo. So to say that I save it as the excess format. This is a game format, and I saved that. And these files are unfortunately very large, but I find it convenient free loading it for later. Now I'll crop it down to the image I want. So I first sumo and I say, what size do I want? So I got a crop it and for this photo, I might want the center of it. I really want this asparagus in the show and I want this and want a bit of the top of the plate. Maybe not the blackness. And this depends on where I'm posting it. If I'm going to be posted this on instagram, I want a square of you. They'll make it square because this makes it larger. By posting on my own site, I'll have the wide view. If you're posting on Pinterest, you might want a very vertical view, but this photo is not very good for that case there. So I'm just gonna do a very basic one right now and I assume isn't on their website. So I cropped this selection once I've cropped it, Then I'll scale the image and I use 1920 for all the images on my sites, and I scale it. And so that's the sizes. Remote slightly. And this is my final image. 3. Dough: Curves, Contrast, Crop: and its chapter and going to look at how to use the curves tool as opposed to exposure and how you might want to play around with contrast but not end up using it. I've chosen the photo off some pizza dough in a pan. This is an almond dough that I make, and this photo is a little bit difficult. It has a scene in the coloring is very widely off. If you look at the history Graham, you'll see that it has full in the high end, not much in the low end, and this is where exposure is difficult. You already have it highly experienced, but you want to extend the range, and this is where the curves tool is better than exposure. So I the curve too well here, and I see all this black and and there's a little bit unused. This is a typical one, or I move it over and understand the range. But in this case here, when you have a lot of blacks, you may not want to do that because you're gonna lose some of the detail. So what I can do is because I have black. I actually want to add increase the brightness there. I don't want to increase it. The high end incurs Let me pull up the brightness at the door again, which lets me bring out the pan a bit more without sacrificing clarity at the high end. So it's reducing the Hyatt, increasing the range for the deep end here. And I can actually move the bottom one over to get fully deep range here. And how much you do This depends on how much you want. The more I do this, the more the brightness and lightness includes it. She may want to put another dawn at the high end, and this brings the lightness back down. So if not over experienced that. But now I can see the pan a lot better than this that I turn this off. You see the pans? Not not very clear right now. And here I bring out the pan and this is maybe wouldn't want this photo. The old images lost a bit of contrast, but we can play with that as well. And here if I improve the contrast, there's always so much that I can do because you gonna undo the effect we just had of bringing out the depth of the pan. So you have to be very careful about how much you do contrast. Sometimes you might have saying, Look, actually preferred it. Without the contrast, I could see it more or I have a very subtle contrast effect. The other option you have is because we have this darkness is as we showed dark and Onley before you might want to go for inviting. Only then you only lighten up. The contrast. You can improve the contrast without losing the depth of color for the blackness there, and that's one of the options you have. And because my center the photo is a darker region in the middle, you don't have to worry too much about a streamlined far off to the right. We have overexposed items inside of the photo, but they're not my center of focus, so I'm going to leave it like that. I can turn it down a little bit, though, and that brightens up this photo a little bit and keeps the contrast where I wanted. And as I always do, I'll do a new from visible and then I'll sharpen it up. And this one sharpens too much. You can see the dosomething looks weird with the dough. So I turned down the capacity to let some of the onions from below shine through. So it's not as sharp. And then I could say this one again because I have over supposed parts the right. I'm a select, a region that has that cuts out some of that ball and leaves. It has the whole pan. This one's a good for a square shot, just lots of detail in this square in the middle. Cut out the bottle cause it looks a bit weird from the top. Now I have a vertical image, cropped selection and this whole post well on Instagram as a square image. 4. Cake: Clone, Saturation, Contrast with Layers: in this chapter, I want to introduce the clone tool for cleaning up smudges in the photo also will use the saturation tool and use a contrast to without a lighter a darken layer and see how that relates to the exposure because we'll be using curves in this one as well. This photo is taking its a black background and having solid color background. It's fairly common for some social media, but you'll notice on my photo. I have some specs here. They may be hard to see, but whenever you have specs, you can choose the clone tool to clean them up. Increased the side a little bit here so we can see what I'm doing. And so I choose a brush that's as a soft border to it. You may choose softer if you want, but I'm happy with someone somewhat semi hard and a size appropriate fulfil. Don't go too large. I have one that's fairly small. It's hard to see, and I'm going to start cloning across and control click and gimp to select the region, and they click on top of the one you want to clean out, and it removes this smudge or this fleck of dust. I do that through all of the dots and I don't do a lot of other work on this. I'm not gonna clean up anything else sonically up. Just the dots that stand out. I still avoid making too many digital artifacts. We're used to size of this tool again. I just see one more that's there. I missed. I did this on the bottom layer. It's important when you're doing cleanup, you do. It is the very first thing, because as you start duplicating layers, those smudges are going to duplicate the layer. So we want to get rid of it right at the start. So now I'm gonna duplicate the layer, and I want to just a saturation because I look at this photo and looks OK, But the reds the reds seem a little bit under saturated, so I'm gonna go into saturation and they want to increase it a little bit. Now it's hard to see, so I'm gonna go to the extreme of it. So what happens if we completely over saturated? And this is way to read? You don't want this much red in it, so I'm gonna drew a value that seems reasonable and brings out the red. Now this is redder than it might naturally look. And for some of social media, it's not a bad idea. Have colors that pop out a bit stronger just to draw the user's attention. You don't wanna have it looking to fig, but it's sometimes okay to overdo it just a little bit to make them cup out a little bit more. So I've had a little bit more red to this photo. Now, looking at the history Graham again, I see that my high end is well exposed and I can see that colors here. I don't want to drown them out, so I cannot use the exposure tool again. I'm going to use the curves to all this time and because I'm against a black background, I really just want the black to get blacker. And this is a case where I can just drag the curb over and drop out the background. It gets blacker and blacker. I'm gonna zoom in on one of the blueberries, though, because they're fairly dark, and we want to make sure that as we increase it, we don't lose the detail in the blueberries, so if you look at the side, they're getting dark. So if I went too far over, you see you start losing the detail, the blueberry, and this is not what we want. But it's OK if we lose a lot of the background color, because we know we have a lot of black back here, and that's OK to drop it off in to clip it off there, because it's just going to click the black and we're OK with that. I have a reasonable range of colors there now will duplicate the layer, and I want to prove that contrast, and I'm gonna zoom in a bit to to change the contrast because we didn't adjust exposure. We know the high end has a lot of room to work with, So in this case, I can use a normal layering and adjust the contrast this way, which will adjust the brightness up and down. This really brings out the colors a lot more, and we have to worry about. There's a really bright part in the strawberry, but since they're just highlights, we don't have to worry if they get clipped at the top here. When you look for clipping. You may also want to see at the end of this at the end of the piece of pie here, then a piece of cake. There is going to be some clipping here, and we have to make sure you don't lose too much, cause if I go too far, you'll see this starts clipping too much so you keep it down at a reasonable level. And if you have too much, it starts to look a little bit weird, and you can use a split view again and see what the difference is. It's much it Stephens out a lot in the left, but some of it starts looking a little bit off, so you can. Either. It lower the range, the contrast and a lower habits, and it still looks better this way. And then I can also adjust capacity again off the layer toe. Let some of the more natural colors shine through, and this will reduce the digital artifact, effective it, or it'll make it look a bit more natural and still let it stand out. And then I do new from visible again because we just the passing they want exactly this layer thing is human to see the next effect, and I do this unsure mask again. I do this in virtually all of them. And this one over Does it this purchase too much of a sharpening effect. So I'm gonna reduce the a passage of this one again. And this 1 may be a little bit too much. I'm a little over doing a little bit. So it was clear in the video and is the last step I want Crop. This This is a good square image for an instagram post. And so I select the square in gimp holding control Shift down and I'm going to centered here. I want to get a little bit more of the blackboard or black borders, or sometimes nice. If I have black the top, I want to get more of their Just give it more borders, what stands out? But I have to keep making sure that the plate is actually in the center of the black area. Then we cropped the image. Then I would scale this. Export it as a jape egas. Well, 5. Crackers: Rotation, Saturation, Contrast Darken: in this example, I'd like to introduce the corrective rotation tool so we can properly align our image. I'm also going to use saturation a lot more than they did before to bring out even more colors and otherwise plain looking food. And then we'll use contrast, darkening again in this photo. I have some pictures and crackers, and they're on a little slate piece. But if you notice a slate is not nicely aligned of the bottom of the image itself, it tilted. My camera was not held at the angle to keep this flat. And so I like to flatten this first of all, like removing smudges. I want to rotate now before I create new layers so that it reflects that through all the layers, all the ones. And for that I can use the rotation tool. What I'm going to throw station tool is even choose a corrective rotation. This is easier to visually align what I want to do, and I'll show you how that works, and I'll have some guides here so we can see what's happening, and you may want to adjust the size of the guides sewer lines better with the picture So this one here I have this grid, and this is created from those guides. And what I want to do is I want to align into the bottom of this slate so you can see I have this one line a lined up with the bottom of this slate. And what corrective rotation does it says. What I've done is I've said this is the rotation off my image, and I want to correct, for this is going to do the opposite rotation of what I've done. So if I do rotates now, the bottom of the slate is level the bought a image. But as you can see, I have a little bits aside which have no image. So I have to do a cropping on this right away. And when I crop after rotation, since this isn't the final crop, I want to keep as much as your region as I can, as I can, and just remove the empty areas. But again, since I have smudges on this photo, I'm going to clone away. This much is first before I produced duplicates. Now, sometimes you have to decide whether removing smudges is actually desired, because in this one here. I have actual crumbs in the front, which are part of the crackers, and it's hard to decide whether I actually want to get rid of them or not. Are they actually part of the photo, or are they artifacts from the background? And I'll remove some of them? In this case, it doesn't matter if I get rid of them, it'll look clean as is. We have cleaner photos then, and you'll notice when I clone. I tend not to drag the mouse. I click one of the time and tend to move it around to get a good variation in the cloning region. Because the background image here is felt, it works very well on the smoothing technique, blends reasonably well, and then I'll create a new layer. These crackers have some color in them, but it's hard to see, and this is a case where I really want to use the saturation tool. I'd really like to bring out some of the color in there to make them shine a bit more, and so I'm gonna do it pretty high and see there's a lot of color in here at the zoomed out level may not look like much, but you see, there's a lot of color in there now. And if I turn off the preview now, it's really flat again. And by turning up the saturation, I've also brought out the color in the oil and the food in the top. This is looking a little bit unrealistic, especially the partially here. I really want to show the crackers. In this case, I'm gonna overdue a saturation. This is an artistic decision you have to make. And I really want this photo a pop out when people are scrolling by and so sometimes okay to do saturation, especially in images were the food isn't highly saturated, begin with So this crackers now look nice. Compare with a split few you can see compared to the saturated view, they almost look gray and boring. And that's what we don't want were to take the hit and having oversaturated green partially just so that we can have the nicely saturated crackers. And now I'm gonna duplicate the layer again. We have the same thing we want. Increase the contrast, and if I look at the history again, we already have the high end colors full. So I have a lot of dark end here, So this means I'm probably gonna choose the dark and only approach and go into contrast. And since it's dark and only I have a lot more room where I could do it And this base the background black really black and increases a contrast of everything else. And our cracker just still looking nice. You see, the individual seeds in them and the overall image is still reasonable. See, I can't completely get rid of the background there. This okay, this really stands out. This image stands out very clearly. Now, this is one of the cases where I'm gonna leave the opacity 100%. I'm totally happy with this contrast level. I don't need to blend anything in looks reasonable as is. We're gonna create the one created additional layer, and we're going to do the uncharted mask with my standard settings and unsure Mass is a really good job of bringing out shine on glass. And this one if I zoom in, you notice the crackers start looking a bit funny, so I'm gonna bring down the opacity of it just to get more of that natural. Look to it. Now, this is really hard to see in the video, but if you do this on yourself, you will see the difference between it. If you want to see it with and without the sharpening, you could turn the eye on and off. And this may not show up in a video, but it makes a big difference locally. So the last step here will be to crop this and I gotta keep the full vertical range. And I just want to go to both sides of slate, well, cropping. It's nice to have the same amount space and both sides. This is a standard thing. This keeps the image focused. If your gonna cut off one side, then you have to cut it off. Significance doesn't look like we stick, but I want to keep the same distance in both sides. It just so happens that the gimp highlighting area is a reasonable spacing. You don't I don't always use that, but it's a nice way to go, and I'll use the full height so that I can use this for vertical mediums and this gives me my photo. I will reduce the size of this and export that as well 6. Eggplant: Crop, Exposure, Saturation: this chapter. I'm going to show how we use cropping to remove things that are definitely not of interest first. So we work with the rest of photo, then we'll adjust the exposure and all best of saturation very lightly. But it will not be applying contrast. And I'll show you why. So I have this eggplant photo if I see in the middle the color of a client's very good. This is a top down photo, and it had some tall props and it had this pepper grinder. And this is not looking so good in the photo. It looks weird. And so I want to crop this out right away because I don't want any this region, the photo to be influencing what I'm doing. So I'm gonna take a big chunk out of this and say, Look, I want this over here, and I actually don't want this whole eggplant, but wouldn't keep it for now. But I definitely want crop that Oh, keep some of that. The bottom of it seems to be fine, and then we'll keep the rest here, and the top of this starts get distorted so I might drop the salt out as well. And I might leave this world lasting. And I have to decide now if I think I'm gonna keep the glass in the end that I should make enough space to keep it all. But then I see the Thomas here cropped out later. But if you want to remove it, you want to go right down below it, and this is option at that. Think think about what? You want a crop in the end, but your initial crop should be fairly conservative and leave a lot of the image there. If I look to the history. Graham, I see, have a lot of high end here that could really improve the contrast here and the images overall rather dark. So I will go ahead and adjust the exposure level, and I tend to look at the history Graham and the photo, see what it wants. What I'm looking for again are the highlights. There's a highlight, this eggplant, but it's not the center of the photo, but I do have to watch to make sure you don't. It doesn't get drowned out. And in the eggplant itself, there's one part in the middle that looks to be very bright and I don't want that to get drowned out. And second, just a conscious. If I go too far, I'll see gets obviously Wait, you drowned out. But even around the one mark, I'm already losing detail in the middle. So I gotta keep it down to a point where I can still see the detail here because as though we do want light images, we also want to show details. And if you use a split tool, is a great way to show which details you're actually losing. And here I can see him losing some of that that sheen. And that's not actually what you want, because that she adds life to the photos. So I'm gonna reduce the exposure just a little bit again so I can keep that sheen a little bit. And we see it in other places. I lose it a bit here, but I keep it in the other places and it brings it out there. I mean, duplicate clear, and I'm gonna just a saturation just a little bit Here. It's the one of tomatoes aren't quite looking as red as I want. I want increase the saturation to bring out some of the red in the tomatoes, and we don't want to overdo, but a little bit. It's fine. Use a split view again. I can see that they're a little bit redder and I don't want overdue. Besides, eggplant itself doesn't have a lot of color. If I do the full saturation, you know ST Plant does have some red, and it brings out a little bit. When I do the saturation, I want that just a little bit. But I don't want to overdo it because of those tomatoes and want them redder. And this eight point will also be writer. And for saturation is always a matter of taste. How much you bring out. But don't overdo it. If you bring out too much saturation, it will start looking fake. Now I'd like to adjust the contrast here. Just contrast is one that I always do. So I duplicate the layer, and now I want to look at the contrast. It's one of the standard tool, so let's adjusted contrast all right, so we bring the contrast out and we see okay, it's already too much in the middle because it's something lost. Here is looking fit, but more importantly, over on the right, I've lost the eggplant. There's no border to eggplant. And for a snappy food photo, you wanna have the strong borders so I can adjust the contrast down like, Well, it's really hard to get eggplant back. I get this really tiny adjustment amount. And the question is, do I even see anything here? It makes it very, very subtle difference. And at some point, I often think, Well, look, if this is not making insecurity difference, I'm just not going to use it and the choice not to use the tools very important for food editing. And I want to see this eggplant here so chosen not to use the contrast cause I actually want the eggplant to show up here, and I want to keep the colors here. And so, though contrast might be nice, you're here. It would not be so well here, so I'm just gonna leave the contrast away, and I'm gonna go straight towards adding bien sharp mask and you're sharpening up and on this vote of the UN Charter mask has made the eight plant we too cartoony. So I'm gonna reduce the opacity to quite a bit down, so I don't have the same cartoony look, and the way it's caught itself already cruises that. But I just reduce intimate. It's still sharper. It wouldn't be, is perfectly a sharp is another image. But this again, the country. The choice to make What is the most important aspect of the photo when you're doing the food photo? In the last part, Here's your choosing clipping since I kept eggplant and I want that and I only want part of the eight plant. I want the color there, and I don't like the left side here. And so I'm gonna clip it off the plates, and I want to get rid of that salt a bit. Now the moment clipped one side, usually for balance. I like to clip the bottom as well, and I like to keep the corner to make it look around. What's this? There's nothing in the bottom. The plate. I can click more, and now I have to balance the tomatoes or school, actually the same distance with side. It makes it nicely organized there, and I have the little bit of the green in the eggplant. I can keep a little bit more, and then I'm just left Words up there. It's not perfect framing, but I get someone close to what he wants, and this is my final image, which I can reuse the size of and then exports.