DIY Product Photography Backdrop: Create a Portable Canvas Surface | Tabitha Park | Skillshare

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DIY Product Photography Backdrop: Create a Portable Canvas Surface

teacher avatar Tabitha Park, Product & Food 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

6 Lessons (40m)
    • 1. Introduction

    • 2. Things You Will Need

    • 3. Cutting & Painting

    • 4. Shot Demo

    • 5. Lightroom Edit

    • 6. Final Thoughts

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About This Class

In this class I'll share my technique for crafting a handmade portable photography backdrop. This canvas surface is a durable, flexible, travel-friendly solution to improve your product and food photography. I'll take you through the process for making your own, as well as how to use it in your work in a photoshoot demo!

I'll cover:

  • Recommendations for canvas and paint supplies
  • How to add texture and depth with your paint
  • Photographing your seamless background
  • Using the surface for a flat lay
  • Photoshoot tips and tricks
  • My editing workflow for polished final images

Whether you're just getting into photography and you're looking for a professional, beautiful seamless backdrop to improve your work or you're a seasoned creator in search of a portable, flexible backdrop solution, this class is for you!


This backdrop project is fully customizable to your needs. I recommend a black or white surface for versatility but you can also use this technique to create any color or look to suit your brand or aesthetic. Your finished canvas surface can also be used as a background for filming or to photograph your art, creations, or products to sell.

Best of all your finished piece is easy to keep clean and rolls up nicely for storage. I can't wait to see what you create and how you use it to level up your work. See you in class!

Meet Your Teacher

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Tabitha Park

Product & Food Photographer

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Hi! I'm Tabitha and I teach photography classes. I'm a lifestyle, product, and food photographer living in the Pacific Northwest with my husband, Taylor, Smallcat, and our 12 gorgeous chickens! I love plants and coffee and naps. In my spare time I'm a reckless gardener and collector of "garbage" that might be "useful someday"

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1. Introduction: [MUSIC] Hi, I'm Tabitha, and in this photography class, we're going to be making our own portable canvas backdrops. As a product and food photographer, I get to travel occasionally. Lugging all of my rigid backdrops to and from sessions isn't practical and it's definitely not airport friendly. The night before a big trip to Denver for a chocolate shoot, I made a pair of canvas backdrops that would roll up and fit in my checked bag, mostly just to see if it would work, and it totally did. Whether you are just beginning your photography journey and you want a professional unique backdrop, or you are a seasoned creator looking for something that is more travel friendly, this class is for you. In this class, I will walk you through the steps to craft a portable seamless backdrop of your own. I'm going to share where I source my canvas, the best paint to use that cleans up easily and photographs really well. After painting, we'll take it for a spin. I will show you a handful of ways that I use these backdrops in my real-world scenarios in my workflow, as well as tips and tricks for best success. My name is Tabitha, I'm a lifestyle product and food photographer based in Pacific Northwest and a talk teacher here on Skillshare. I'm super excited to dive into this class with you, so let's begin [MUSIC] 2. Things You Will Need: [MUSIC] Thanks so much for joining me. For our class project you are going to need canvas, paint, paintbrush supplies, and a sharp pair of scissors. For the Canvas, I highly recommend going to your local hardware store, and getting your hands on a painter's drop cloth. This is what you put down on the ground to protect your carpet from getting paint on it, and it actually happens to be perfect for this project because it's affordable and, pretty readily available. This one is five foot by five foot. We are going to slice it directly down the middle and it will give us, two-and-a-half foot by five foot backdrops. These come in a bunch of other sizes. E.g. I have, a six foot by nine foot. This is much larger. You can make any size backdrop that works for you. Something to consider is how you're going to move it, and what you typically shoot. So for me when I'm traveling, my backdrop has to go in this bag. This bag is 32 inches end to end. My light dome, which is lighting me up right now, fits [LAUGHTER] perfectly in here. The two backdrops that I have already, are black and white. They're exactly 32 inches and the ones we'll be making today are 29 inches so that'll give me a little bit more wiggle room. I've used these for shoots before and I know that they are wide enough for the kind of work that I do. This felt great for me. This canvas, drop cloth has a plastic backing. This is probably going to keep my table cleaner, but you definitely don't need it. These ones don't have the vinyl, this one does. If you know your way around a fabric store a little better than the hardware store, duck canvas comes on a bolt, you can get it as long as you want. That's going to be a very similar style fabric user coupon. [LAUGHTER] You can still get a pretty good deal on that. For paint, I recommend latex or acrylic. I'm going to be using both. This is a primer. I'm going to be using this as my base, to make the whole canvas white and consistent. Then I'm also going to be mixing, light pastel shade of pink for our top coat. To make my pink, I'm going to be using just the tiniest little bit of this acrylic Winsor and Newton paints that I found in my stash. A quick note on paint sheen for backdrops, I usually recommend matte or flat. In this particular project, you just need to be wary of the fact that those sheens, those dusty looking finishes, they will hide a lot of wrinkles. They won't have any glare, but they are a little bit harder to keep clean if you feel like you're working with a lot of messy props and things on your photo shoot. You might want to keep that in mind. On the other end, a high gloss or semi gloss, is going to give you a more durable finish that wipes clean really well, but it might show a little bit more glare depending on how you choose to light it. Then somewhere in the middle, you'll get your egg shell or your satin finish. That, will give you the best of both worlds I think, if you're unsure, I would start at eggshell, and just see if that works for you. If you already have matte paint or semi gloss paint, definitely you can roll that out, see if it works for you and you can always recover it if you don't like how it turns out. I like these small four-inch foam roller brushes. These give you a nice smooth finish. Keep in mind, you're going to need quite a lot of paint for this, because the canvas tends to soak it in. But either of these options, you'll have plenty. Then lastly, to protect your clothing, feel free to wear a highly fashionable apron [LAUGHTER] or turn your shirt inside out, wear gloves if you're photographing your hands this week. I'm going to suit up and we will start cutting our canvas. [MUSIC] 3. Cutting & Painting: Here is what our drop cloth looks like. Each of the edges have been hemmed. It's a giant square. We're going to cut it directly down the center. To find the center, I'm going to fold it in half and then make a snip. If your scissors aren't very sharp, a fun trick that I like to do is to just rip it [NOISE] directly in half. It's going to rip right along the weft, or the warp, one of the waves, basically, the fabric, the lines go like this and then like this, it's going to rip in a straight line and that's very exciting. You can definitely do that. It'll give you a fun frayed edge, or you can take your scissors and do it nicely. [NOISE] Here is one backdrop and the other is exactly the same. We're going to set this out of frame. We only need this one. Now if you want, and you're savvy with a sewing machine, you can absolutely finish this frayed edge here. I'm not going to do that because it never shows up in my photos and the backdrops don't tend to fall apart, especially with three other finished edges. To paint it, I'm going to not paint on the plastic side of mine. Paint on the canvas side. When you feel like you have a nice even layer of primary, you've covered up all of the canvas it looks good end to end. Go ahead and let it dry for about 30 minutes to an hour, or whenever it is no longer wet and then we will do the top coat. I actually had to let mine dry for 24 hours because the plastic coating on the back was preventing airflow. We just gave it its time, but if you don't have the plastic back then yours will probably dry much quicker. I'm going to just use the same pink container as I used for our base and then I will just mix the tiniest idea of red into it until I get a pink that I like. I want to emphasize that you do not need to be like an established, or talented painter to paint an effective photography backdrop. This is more of a tool, not an art piece. We are going to be making very subtle lines. We don't want anything repeated. That's what you all have to be aware of when you use this tool. Sometimes if it has a splatter, it will repeat it over and over as you roll it. I recommend pulling out a brush as well to crush that out. I also find that to get a lot of depth in your final piece, having varying shades of the color that you're going for, helps give you some more of that depth. I'm going to dump a lot of white pigment here, and then we'll add my red. I'm hoping that I get a nice like pastel pink. I'm also going to use my brush as a mixer so that I can mix it into this container here. You can see pool of white, tiny dab of this red. I'm mixing it separately over on this end before I incorporate it into this big pool of white, I'm not the best at caring for my tools. If this the fact that we have peeling paint chips about to get in here that bugs you just. [LAUGHTER] I'm just going to gradually mix that in, and I'm going to leave it a little bit unmixed. I don't necessarily want the striping and the marbling that's happening here. I'm going to keep it really simple. In fact, I think I even want it slightly pinker than that, but I'm going to go ahead and start rolling it on. It's good to commit to a color and then give yourself a nice base on here on top of your primer and then we can go in and make little details on top. If you've watched my other backdrop classes, this process probably feels really familiar. [LAUGHTER] It's a lot of the same. The biggest difference is that you can see I'm holding it down as I paint so that it doesn't scooch out of the way because it is fabric, and you can see there's quite a lot of wrinkles in mine. I'm hoping that this thick layer of paint helps flatten it out, but first layer did a really good job and then as I store it, it will straighten somewhat on its own. The first time I did this, I used a backdrop that did not have plastic on the back and I ironed it. I was afraid to iron this one. We'll just hope that these wrinkles [LAUGHTER] disappear. This pink is rolling on so subtly, I'm going to go ahead and add more red pigment and just let it come to life. Nice. Stripe a red there, that's exciting. See if we can buff that out. Unhinged woman paints, but I'm hinged, wow, I really like how this is coming together. This is turning out very nicely. [LAUGHTER] We've got some subtle variations in color which might disappear as I keep going. I like that we have this stripe, red. I like that we have a little red section here. There is a cloudy, lighter section here. This is great. I am painting a pink backdrop because one of my clients has products with pink on them and I found that I didn't have anything in my backdrop collection that was perfect for this, which is one of the bigger reasons why I make my own and I'm looking at it now and I'm thinking it's also going to be perfect for Valentine's Day content, Mother's Day content, anything springy, so yeah, this is great. This is getting great, I'm going to keep going. I would stop. I'm to the point where I have coated the entire backdrop with my beautiful pink color and I'm going to go in individually and tease out some of the spots that are a little bit more jarring. I have this stripe here, a little gash. I may not get rid of all of them. This one especially needs some TLC. Basically, I just go in and hand paint in little crosshatching patterns on top just to blur that out. I also like to after this stage, if I feel like it needs more dimension, I will take a lighter color and just barely hatch over the top. That gives it more of a painterly vibe because then you see actual brushstrokes, it highlights the texture of the canvas because there is little ripples and so it'll glaze across the top, giving it some really fun texture. I'm going to let this dry and see where it takes me. [LAUGHTER] 4. Shot Demo: In this section, I'm going to show you a very simple setup using our Canvas backdrop in a seamless position. I've got my table setup here. I've draped my backdrop so that it makes a gentle curve and then I have clamped it to a rigid backdrop for support. I'm going to be shooting from this angle because I'm using this mirror. I think the mirror is really cool, it's fun to work with. It adds an interesting layer and complexity, but it does limit our shooting angle. I don't want to get the ceiling fan or outside or my clamps in the shot, and so we'll be pretty limited in our angle. What we're shooting today are these walnut canisters that my dad made. [LAUGHTER] I think they're really cool. Right now, they store my chicken feathers. But they could store any number of interesting trinkets or precious jewels, herbs, ******. I've got a slew of prompts here. Slew a good word, probably not. I've got a collection of interesting items that can be styled along with these canisters and are seen. I'll be tapping into some of these as we shoot. I have this beautiful pink azalea bush. I love adding plants and flowers to my work. I feel like it adds a freshness and just, I mean, it's pink, it matches. We are going to just jump right in. I did want to touch on my lighting before we do. This is the Aputure 120d II with a light dome on it. This is going to give us a really bright, soft diffused lighting. I'm shooting in the middle of the day. It is overcast today, so we're getting a gloomy but neutral light coming from the windows. This is technically mixed lighting, but because the light coming from the window is about the same color as my light dome, I'm not concerned about blocking any of it. I'm just going to let it be the shadows that are cast by my subject are going to be filled very gently. I will be shooting with my Sony A7R III with a 28-70, just walk around zoom lens on there. I'm going to go ahead and start styling. I want to shoot both of these canisters because they match. There is a line that I want to match up. Basically this is made from one piece of wood, and so I wan to make sure that I'm mindful that the product shows. What I'm hoping is that I can see the reflected of the shorter one, so it takes up more space. In the image, it's about as tall as the taller one because it's being reflected in the mirror. I think that's really cool. I'm also going to make sure that I don't have any reflection of the second one, and so I want to make sure that I have some space between them. I'm going to bring in this flower, azalea. I might move it around throughout the scene. It's more of a supporting character, so it's not super important, but it is very neutral. I put it in a very simple light green part. The green has some good color contrast and also ties in all this foliage here. I went ahead and snipped off a little bow and a little end, some little floral tip here. I'm thinking that will be cute to style it with. That way, it ties it all in together, marries those colors. I have a collection of quartz crystals and gems that if I positioned just right, I can get the light to shine through them. If I add a highlight like this, it'll draw your eye right in to the image in a really nice way. I'm hoping we can make that do what we want it to do and see how it looks in camera, and then we will work it in as we go. I'm seeing this crease on my backdrop a little too clearly, so I'm actually going to step back. I'm going to pull all these elements forward just to give us a little space between our backdrop and our subject. I'm also going to open up as white as I can. I was shooting at 5.6. I'm just going to drop down to 4.5, adjust my ISO to compensate. That's a little better, a little softer back there, that's great. Something that's really important, if I'm shooting too high, you can see that I get bits of my background in the shot. That's not ideal, so I'm really working at these lower angles. I want to show the walls of the canisters being nice and straight. I'm going to make sure those are square to the camera as well. I love how these are looking. I'm wanting to make the flowers arc over my scene. So I'm just going to adjust those until they do that. This is a framing element. Snap that. [NOISE] I want to make sure I can see my full canister, reflection, awesome. Then I'm going to try shooting through the flowers. This one might be a little tricky with my backdrop. Maybe I'll just do the bigger, the two. Awesome. Then I'm going to try putting it behind. This casts a heavy shadow on my backdrop, so I'm going to just pull it open so that the light can spill back there. Then maybe we'll adjusted our posing here. We're going to open this little canister, show that it's hollow. Thank you. I'm going to sprinkle just a teeny bit here on my mirror for some grids so that this guy stops rolling way. We want just enough to hold it, not enough to see it. Bring. [LAUGHTER] There I think I like that. I'm going to be shooting pretty much, mostly this one here. Coming in nice and close. Maybe I'll do a wide shot. The scene is a lot darker, with that shadow from the flower. I'm going to bring the light more forward, so more of it spills onto that background, and then we'll get some out-of-focus florals in the foreground. There we go. Cool. Neat. [NOISE] I think we got a fun variety of shots here. I feel like we captured this pretty nicely. I'm going to do one-click setup on black that is flat against the table will be shooting a flat lay. For this setup, we are going to show off that Canvas texture. I'm using a slightly more dramatic light angle and scene overall. I have the Canvas backdrop. This is one of my original ones, this is dark sleet, matte black Canvas. Then I've just set these two other dark backdrops here mostly to block the lighting. When I was taking some initial shots, I was noticing there was a lot of reflections on all sides of the chocolate and I felt like it just looks better, it looks cleaner when you have more intentional lighting like this. I've got my light very close. That's going to give us nice contrast. We're going to have very bright highlights and dark shadows. If I bring this further back, the contrast ratio is a little further apart. It's softer overall. I'm really going to hone in on showing off the little details on this chocolate bars. To get started shooting it, I'm going to open up to 5.6. I'm shooting at one over 200. I'm going to be shooting so that the light is scraping across from the back. That looks like this. We're going to really lean into this dark on dark vibe. This looks superclass. I actually want to break up the chocolate bar and stack it. I'm going to bring you in a little closer and we will do that. I love the highlight we're getting here. I'm going to try and show off this exposed chocolate, this broken piece right here. Maybe I'll tuck it in and then rotate. Cool. Show off that beautiful texture which gives me a macro lens. [LAUGHTER] Just kidding. We should be good to go. I'm just going to bring in this little note card just to bring some of that light into the shadow area to find the shape. I'm going to show. Here is before [inaudible],here is after. [NOISE] I feel like these look so pretty. Awesome. I'm going to take all of my favorite images and show you how I would process them in Lightroom next. [NOISE] 5. Lightroom Edit: [MUSIC] I am in Adobe Lightroom Classic. I am using Version 12.1. [LAUGHTER] I've imported all of my photos from my shot demo, and I've got them colds down to the best ones. I'm going to be real with you, for a minute there I was like, I don't know if any of these photos are going to be good. There was a few days between when I took them and when I imported them and I was like, are they even good? Now, here they are and I'm like, actually, these look pretty good. If you ever feel like maybe your work is crap or you're not talented or whatever, you're a real artist. Imposter syndrome is real. To start out, I am going to do a basic edit on this shot. What I really like about this one is we've got some greenery framing the image. We have this crystal which stands out nicely in the shadow area. I don't know if I love the shadow back here. We'll see if we can make some adjustments on it, but let's go ahead and start correcting our color and exposure. I'm going to bring the exposure up, bring the contrast up and bring in the blacks down, bringing the shadows up, and then taking my highlights down. Already I've done those five sliders. This is before, and this is after. This guy is on an angle and it is bugging me. We're going to open up the crop tool and we're going to straighten that as best we can. I have to split the difference a little bit, but let's see if there is a camera corrections that might fix this. I'm scrolling down to Lens Corrections. It looks like I already have Enable Profile Corrections checked and that fixes distortion. Then getting on the image, I'm going to pop into the Transform menu and see if we can make this look more upright. I'm going to hit this auto upright tool, this grid here. That basically just matched my horizon, which is not what I wanted. Let's go auto and see what it does. Perfect. I did an auto upright perspective. This is before, this is after. I feel like that to me reads a lot straighter than it did previously. Let's jump back into our crop. I'm going to change the ratio from original to four by five for Instagram. I'm going to click inside the box and drag and this is where we get to really fine tune this crop. I want to make sure that this mirror edge doesn't immediately exit a corner that would draw the eye away from our main subject. I am lining these up. I can't get them on two thirds, but I feel like the weight of this image overall feels balanced. We've got enough negative space up here to be interesting and this is like a natural horizon on the third line here. I'm going to call that solid. Let's work with the color here a little bit because the background was pink and I'm not used to working with pink backgrounds. This will be really fun to tune in. I clicked on the white balance on the background in the widest part. You can see it imparted a lot of warm and green tones in the canisters and made the background look really muddy, so we're going to undo that. I feel like splitting the difference because this reads as super magenta. I'm going to take the tint down, it's set to four right now. I'm going to just creep it down to, this is negative five. When I'm working with tint, I like to step forward and back and just make sure that I am headed in the right direction. I think negative five is too far, so I'm going to set it right at zero and see how I feel about that before and after. It's settled, but I feel like it helped quite a lot. I'm going to also warm it up. Bring the temperature slider up just a little bit. That brings those true tones of that wood right to true life, which I love. Let's add some adjustments in our tone curve. I'm going to drag the dark slider up. This brings more information in those shadow areas and then I'm going to bring the shadow slider down. This sharpens and crisps up the black areas of the photo. Yeah, I feel like this really came together nicely. Lastly, let's do some sharpening and some noise reduction. I'm dragging my sharpening slider about halfway. I'm dragging up masking while holding the Alt option key and making sure I'm only masking the edges, everything that's white. I'm going to let go. That adds a nice sharpen so that our image looks crisp. Then I will bring my noise reduction up just to smooth things out a little bit. Yeah, from there, I still feel like this image needs a little bit of pop. I'm going to bring my whites slider up, just a hair and maybe bring my exposure up and my blacks down. Let's see if maybe we want to mitigate this shadow here. Let's open up our masking menu. We are going to grab our brush. I'm going to hit the right bracket and make it bigger and then mask this entire background shadow just so that we can bring those shadows a little bit brighter. I'm going to bring my exposure up slowly, just rocking it up so that we're getting rid of a lot of that deep darkness there. I'm also going to take the shadows slider up just a little, hope that blend out a little bit better. Going in just gently smooth the edges. Let me show you here is before, and here's after. We just removed that dark cloud. Now if I wanted to be a perfectionist about it, I would also remove it in the reflection, create a new mask. This way we can fine tune it individually. I'm going to paint this and then rub that exposure of just this image. I like the shadow there because it makes that crystal stand out, but we don't want our eyes to be drawn to this creepy, shadowy part of the photo. I think that's good. I don't know what I'm doing. [LAUGHTER] Let's go ahead and copy these settings and paste them onto a couple of other shots from the same scene. This shot I love that were pulled back just ever so slightly. I wanted to show you see how we have these background wrinkles, if we take our little Band-aid tool, increase it so that it'll fill it and then click and drag. It'll sample from nearby pixels and clean that up really nicely for you. Yeah, well, it would be ideal to not have wrinkles in your background and to iron it beforehand, if you don't have that option or you've been traveling with it and it has a wrinkle or two, you can easily clone that out. Just make sure if you are working with a mirror, you are cloning it out in the reflection as well. Yeah, there is that. We're going to step through and see if there's some other variations of this shot. This one's really cool, peeking through the flowers. I wish I had removed this canister because my eye is drawn to that as it's a very straight edge that's being hidden by the leaves. Pretty cool shot overall and I think I actually did redo it later without the canister. There it is. This shot, very similar. You have the flower that's in-focus. It tells you what it is and then you have the flowers that are out-of-focus that add that artistic element to it. We're going to bring this crop in four by five. I love how that third line lands right on that stripe. I feel like it's pretty stray. I'm going to just bring that in nice and tight and yeah, maybe boost up the contrast on this one. Bring in the whites down. [MUSIC] It feels more shadowy to me, so maybe we bring the shadows up. Actually, that helped a little bit. Really cool, copy and then we have just a couple last shots I wanted to click through. This one has a lot of framing elements that go all the way around the frame, lots of color here. For this one, I might want a less contrasty at it because the inside of that canister is really deep walnut wood. I would want to make sure that you can actually see inside it, I think that's a more effective display of this particular product. There we go. This time I brought the darks down and the shadows up. I can play with those interchangeably and see how to step it into the look that you want. I'm just bringing the crop in, so that nice 8 by 10, 4 by 5 and I love how that looks, so let's jump into the chocolate images. These will be pretty breezy, I wanted to show you a close-up so that you could see exactly what the light was doing before I put up the blocking boards that blocked all of the natural light from the windows in that room. You can see this is before, there is a reflection on all sides of the chocolate. Overall, the contrast level is just much more muted compared to the one where I blocked the light. It's a darker image, but the contrast ratio is much higher. I can bring the exposure up, I can bring the contrast in, bring some light in the shadows, bring the blacks down. It is just much punchier. I'm even going to bring my exposure up even more, maybe dip my highlights down. I'm going to keep him about the same. Clarity goes up, we want to really punch that in. For this one you can see my background has a gorgeous little car hair here. Let's take that out. [LAUGHTER] We have some smudged chocolate on the canvas. One One thing to keep in mind when your clone stamping the canvas is because of woven texture is like a repeated pattern. You just have to make sure that where it samples from does indeed repeat that pattern, otherwise it'll give it away that you photoshopped it. Then on this image, let's crop before we start clone stamping so we're not clone stamping parts of the image that no one will ever see. I'm just going to bring this in, so pretty as a beautifully tempered bar. I brought it in, that would be the finished crop there. Then from this point I would zoom in and take my little band aid tool and just click away. Right now it's set to heal. You can set it to clone where it'll take an exact copy of the spot that it samples. Or you can do content aware removed. This is a newer feature here in Lightroom and it's very similar to how the band aid tool works in Photoshop. It's making the calculation and just replacing the pixels. I found that I missed the control that I have with the Heal tool. I prefer more often than not to use the Heal tool even though it takes an extra second if I have to grab the box and move it around a little circle. But I just feel like if I have that little bit of control, I can put the spot right where I want it. Anyway, here is some of the specs and scuffs removed. This is what I do [LAUGHTER], it's cloning out these tiny little bits of chocolate debris [LAUGHTER] on the chocolate bar and really just making it stand out. This image is a little cool, I'm going to just bring up the temperature just to make sure that chocolate does look true to life. Bring up the contrast ever so slightly. It's funny this background was black, but now it feels so gray compared to that deep rich, dark chocolate. I just pulled the darks and shadows down a little bit to add that moodiness. Then I'm going to bring up the sharpening quite a bit and then mask it. We're going to adjust our mask. I'm not too interested in sharpening the background, mostly the hearts on the chocolate bar. But the background has a lot of texture, so we don't really have a choice here. I'm going to bring up the noise reduction to smooth out the soft parts, and I really feel like this turned out so nice. I feel I could spend forever clone stamping all these little bits of chocolate out of there but overall, I feel like this image turned out great. We can copy these edits and put it onto one of the shots of the stacked chocolate for a very similar look. Just for fun, let me show you what this exact edit looks likes on our original shot before I tuned in the lighting to my specific taste. Here I have set my reference photo as the image before we changed the lighting and then after. You can really see this side by and get a good idea of just how much of a difference that makes. You can't even see the reflection on my windows here in the chocolate. This one just feels much more polished and professional and tuned in. Hopefully that was helpful. [NOISE] 6. Final Thoughts: And that's everything. Thank you so much for taking my class. I hope that you enjoyed it. I hope that you come away from this class project with a backdrop that you are so pleased with. I hope that you can find creative and unique ways to level up your work using it. And that you too have the freedom to travel with it and not feel terrified that you show up unprepared to a shoot. If you like this class in this project and you want other similar projects, check out my profile. I have a ton of other DIY backdrops classes, as well as other project-based classes to photograph cocktails and chocolate and pancakes and other fun things. Thanks again for joining me and I will see you in the next one. Don't stand on that, please. [LAUGHTER] [MUSIC]