Transcripts
1. Introduction: [MUSIC] When I was a kid, everybody wanted to be a dancer. We all wanted to be
little ballerinas. I couldn't wait to
go to dance class and start practicing
for the next recital that we were going to
do for our parents. Today's set is inspired
by those memories. I'm Denise Love. I'm a
still-life photographer out of Atlanta, Georgia. What I've pulled together today is something exactly that, something pulled
out of my memory, and I get very excited
when I can pull a story from an experience that I may
have had earlier in my life. Stories are what make
photos interesting. When you look at my photo
and you think, "Wow, that invokes my own memory
of when I was a kid," or "Wow, I love those
props that you've found to pull that story together." I love the things
that we remember. I love the props that
we pull together to pull that story out of us. I love when people see
that and have a reaction to a memory that
they've had themselves. In today's class, I'm going to set up a
little ballet story with a ballet costume, some antique ballet
shoes, a fun crown. I'm going to show you how I
photograph shooting in a box because that is one
of my favorite forms of still life shooting
is shooting in a box. You'll understand a little
bit more what that is as we go through class. I'll talk about the lighting
and camera settings and the reason why
I've pulled together some of the props that I have. I know you're going to
love what we've got today. If you don't pull
together a ballet story and you have a more modern story that you want to pull together, that would work great for
this type set up also. So let's get started. [MUSIC]
2. Class project: Today's class project is simple, I want you to come
back and share two photos that you've
taken of your setup. I want a pullback shot
and I want a detail shot. I want you to take as
many photos as you like, and come up with as many different stylings of
your set as you need. But when you're all done and
you get to the editing side, pick out your two favorite, and come back and show me
a pullback and a detail. All right, I'll
see you in class.
3. Shooting in a box and props: [MUSIC] Let's talk about
my box and our props here that we're going to use
in this different setup. One of my very favorite things
to do is shoot in a box. I love it because
it's a really fun way to control the lighting. I've had several different
antique drink crates over the years. This drink crate is
about 15 inches wide and about 18 inches tall, and it's about 9.5 inches deep. This is the biggest drink
crate that I've had. I've had several that
were this height, but maybe they were only
about 12 inches wide, maybe 13, they weren't
quite this wide. I love this one. The bigger the drink
crate, the better. The deeper it is, the better. I'd almost rather this even
be three inches deeper to say like 12 inches deep. But for what I do, it is deep enough
for most things. If you find a drink crate
at the antique market, I would like to spend about
$60 or less for this. That's about my price
range for drink crates, because there's plenty of them. There's a lot of them
out there usually. I've got them before where they had grating
inside, metal grate. I don't like those because
the grate gets in the way. You either need to
take that grate out or buy one without the grate. That grate usually with holding
bottles like milk bottles. It usually comes in a milk
crate, the grate is in there. I wouldn't get one
with that in it. I would keep looking if that's the only
thing you've found. You can get these off
at eBay a lot of times, vintage drink crates. But again, I would keep
that under $75 or $60 because then on eBay, you're
also paying for shipping. But that being said, one of my very favorite
things to use as a prop. I'm always shooting in a box. Today, we're going
to shoot in a box. [LAUGHTER] We're going
to shoot a dance story. I have picked out
a dance costume. I'm going to do a ballet story. This is just the top
of the dance costumes. I'm sure there was a ballerina
skirt that went with that. But when I purchased it, there was just the one piece. I found that at
the antique market and it was relatively cheap, I paid less than $20
for it and I love it. It is one of my very
favorite props. I've had it for many years. I just keep hanging it
back up in the closet. Every year, I think
of something new I need to do with
this pretty top. [LAUGHTER] Find a pretty top. If you don't want to tell a
ballet story, that's fine. Tell a dance story
and come up with some pretty top you
have in your closet. You can find ballet
tops a lot of times at prop houses like
costume houses. Some of them may
have costume sales where they're trying to get
rid of their overstock. You might check with local
dance studios to see if they're getting rid of any costume overages that they have. You can check Etsy,
you can check eBay. You could sew one up yourself. I think some of this looks like you could do this very easily on your sewing
machine if you sew, just get creative there. This is not going to be
fully in focus on my photos, but there are some
pullback photos where you can tell what that is. I love the rushing. Get creative in the
type of pretty top that you come up with
for your dance story, even if it's a more
modern dance story than say, the ballet
story that I'm telling. Another prop that
I'm using today is an old set of ballet shoes. I've had several pairs of these. I got a real pretty pair
off of eBay at one time when I thought I wanted to
do this type of photo shoot, I ordered all the parts
in at one point and then my next door neighbor,
her grandchildren, were in dance classes
and one of them was a serious dance, seriously
into the dance stuff. She went through two or three
pairs of toe shoes a year, so they had a whole box
of ballerina shoes. When I told her I was doing some setups inspired by a
ballet story, she told them, and a box of ballet shoes
ended up at my house and I'm not sure what they
thought I was going to do with a whole box of them, but I appreciated it. At that time, I picked
out my very favorite of all the ballet shoes I had because I didn't
want them too dirty. I didn't want them too clean. I don't want them to look new. I wanted to look like these
were danced in and loved in, but still pretty to
take a photograph with and to save for every time
I wanted to pull them out because I found a
couple of times that I've needed to pull
the ballet shoes out and I loved that I have
those in my closet. Then a friend of mine
who does equine, she's an equine vet, so she does horses for a living, but she's got the
photography side hobby, had said at one time that
wouldn't it be beautiful if she tied some ballet shoes
down the mane of the horse and had some ballet dancers and did a photo
with ballet dancers and the horse and the shoes. I was like, "It'd be fantastic, here you can have this box of
ballet shoes that I have." [LAUGHTER] I was able to give
them towards a future idea, I don't think she has, to
this day, shot that photo, but it was at least a
place where I could give the props to a potential
future amazing photo. [LAUGHTER] The other
thing that I have that I'm going to play
with today is a crown. This crown looks handmade. I found it at the antique store. At the time that I bought that, there was a good story
that went with it, that it was handmade in Belgium or something like
that in Europe. They was antique and
she had two of them and it was so beautiful
that now I regret not buying both of the crowns, just so I had them [LAUGHTER] because I've never seen
another one like it. It's so pretty in
its simplicity, and it's the most beautiful
thing to photograph. I've used this crown
several times. I went through a period of time where I was obsessed
with little crowns and I got some off the eBay
and I got some off Etsy. I would just make up
sets with crowns. Then all the ladies in some
of my photography things would be just as
obsessed with them and wanted close up
pictures of this and tried to recreate this because it just photographs
so beautifully. In photos, it's so pretty. You're going to be jealous
of this crown too. [LAUGHTER] So let me tell you, if I ever come across anymore,
I'm going to buy them all. [LAUGHTER] But some
other options for crowns that I've come up
with in the past have been some pretty
crowns off of eBay. This one, they're easy to find, if you look up Santos crowns
like the Santos doll. That's what this was under
Santos crown, real pretty. Also had found this random just strings of pearls
on twisted wire. It makes a crown looking thing, but it's not necessarily as
detailed a crown is this, like this for sure is that, but this would be
pretty sitting on top of a ballerina's head on
her bun or something, but it would make a
pretty tight crown. This you could probably
duplicate relatively easy with some fake pearls
and some twisted wire. Then I've also found,
some other time, just a random pretty thing
at the antique store that looks like it's
made of pipe cleaners, so it's just fuzzy green stuff. But that would be a pretty
decoration in a setup like this if I didn't have the
pretty beaded crown that I was going to use. Be creative with
your dance story or whatever it is that you
decide to shoot in a box because the box is really nice
for manipulating the light and adding some depth
to my darkness. If I were to shoot this setup, like on a plain black card, there's no depth to that at all. It would be really flat. It would be black,
which is fine, but it would just
be a flat black. I like my black to
have some depth. [LAUGHTER] When I edit this, it looks like the
scene keeps going. It's not like I sat it
in front of a black card and took that picture. I liked the depth that I
get by shooting in a box. I'll see you back
in class. [MUSIC]
4. Styling our setup: Let's style our setup. I have my costume on a
hanger and I liked that because now I can clip
the top of the hanger on the back of the box
and it'll hold itself up. But the hanger is not going
to be part of the picture because most of my picture
is focused from here down, the inside part of this. While I'm shooting, I'll move
the ballet shoes all around, but I can have them sitting up. I could have them down here, I can have one crossed
over the other, I can have them on one
side versus the other. There's a lot of things
that we could do there. I could have the ribbons
coming out in front. I can have the crown sitting with the ribbon coming over it. I could have the crown
propped up on her outfit. I could do a photo with the
crown attached up here. I can get that. There's like a nail on
my box right about here so I can get that positioned
over that nail possibly or get it to hang on the dress or I can have a pin up
there holding that up. That would be a really
pretty detailed shot. I could have it leaning. I could have it
down on the shoes, lot of different places. I could move the
shoes and the crown around the main
setup to get that. That's going to be
my focus today, is moving the details around
and seeing what I can get. That's what I want
you to do too. I want you to pick a pretty top, pick a pretty pair of shoes, pick a pretty hairdressing, whether it'd be a
hat or a hair bow or some type of flower dressing, or some type of crown
that you found. You can be really creative
there and the parts and pieces that you come up with and the shots that you
ended up taking. Remember in our project, we want to do some
pullback and some details. That's why I want to focus
on moving this around, getting different shots, and seeing how I can get
those different details and the different
photos that I get. We'll take a look at
the photos that I took during the editing segment. Then hopefully that'll give you some good ideas of what
you can do for yours. I'll see you back
in class. [MUSIC]
5. Lighting and using a black card: [MUSIC] Let's talk about the
lighting on our setup here. I am in my studio. I am in a room with all
the lights turned off and I'm sitting
close to the window and you'll notice
I've got my setup within about eight or so
inches of the window there, because you want to
be a little closer to your light source
than further away. If I were to move this
setup a foot or two back, the light would be
greatly diminished that I was working with. A lot of times, I want as much light coming
in on this side as I can get so that I have a good
range of light to dark, but it's diffused light. Right now, I have a photography
diffuser in this window, and you can see that it's
blocking quite a bit of light because we can see the
light shining here on these window Moines. If I were to take this
out of the window, this light coming in is
directly streaming on my set. It's not on this top part here, but it's really harsh
right down here, and that's giving me some super harsh highlights and blown-out areas
versus the dark. That makes for the least appealing photo
that you can take. You don't want to take
photos in direct sunlight. They're too harsh, they don't have a nice
transition from bright to dark and you have all these
spots that are on here where it's shining or it
would blow it way out and it just doesn't look good. When I was younger, I thought I can take photos
out at the Botanical Gardens at high noon with
the sun over my head and get great stuff. You can't convince me otherwise. [LAUGHTER] It took a few years before I could see the light. A lot of times, when
you're just beginning out, you're trying to
figure out your camera and you're trying to figure
out your composition and you're trying to run around to different locations
around your city and you're thinking, I don't
want to get up at dawn or I don't want
to be out at dusk and so you're out shooting at
a time when it's convenient, and maybe you're out with
local photography clubs in the middle of the day and when you're done, you're
going to go eat lunch. It's how mine tended to be. [LAUGHTER] I was out
just shooting whenever just trying to figure
everything out and the light to me was
just not as important, and I didn't realize
for a few years really how important the light is and how my photos changed when I saw the
light differently. When you're in a
window like this, you're going to want
to diffuse that light, you don't want the sun
directly on your setup. If this were later in the day, because I shoot in an
east-facing window, this light comes in to this
window in the morning. I'm on the side of the
house where the sun rises and so I can shoot in
this window till about, say one o'clock or so, and that's when the light
is on top of the building, the sun is on top
of the building tipping over to the other side. If I were on a
west-facing window, I'd want to be working in that
window sometime after lunch and working in it
in the afternoon because that's where
the sun would be. Because I'm working in
here in the morning with the sun coming
directly in on a sunny day, I need to diffuse that light and I do that with a
photography diffuser, which is the center
part of a reflector. This is the piece that's the
middle part of a reflector. You can see instantly how the light just
became much softer. I still have stronger light
on this side of my setup, and it's darker on this side, so I still have a range
of light to shadow, but it's not so harsh that
I'm blowing it all out and making it super harsh. I love that soft light
up near a window. If I were shooting
on a cloudy day, there might not be any sun streaming through the
window like this, and I wouldn't see any of that on my reflector here
that I'm seeing now. If it were a cloudy
day, that's perfect, then I don't need a
diffuser in the window. The clouds are diffusing
that light for me and I love that. Another thing that I like
to do on this setup is I'm shooting in a box
which we talked about when we set up our setup, and what I love about that is now I'm creating depth
in the darkness. When I shoot this
setup and I edit it, this is going to be darkness and it's going to be deep darkness. It's not going to be
a matte, flat black, like if I had been
photographing on front of this black card. This would be really flat and it wouldn't have that
depth that I'm looking for. I like to shoot into a box and control the light on the
back side of my setup, which creates the yummy dark, moody look that I'm going for. I could pull my black
backdrop forward, my charcoal gray backdrop that I've got back behind here that just stands
there all the time, and that would give me
a little bit of depth, but I wouldn't be getting
this light control from the box sides
that a box gives me. I really love shooting in a box. I do a lot of setups
with my drink box. [LAUGHTER] Then I'll
also manipulate the light further
with a black card. I have this black card with
two clamps on the bottom that I got from the
hardware store, and with these clamps, I like the clamps
to be blue or black because they also come
in orange and red, and orange and red reflect
color back into your set. If I have this black card sitting here on this
side of my set, blocking light and
creating a deeper shadow, if it's a red thing
holding it up, that red might reflect onto
my light pink ballet slipper and I don't want that color
reflecting into my setup. I use a black card to
soak up some more of the light on this side and
create a deeper shadow. If I want it to reflect
some light back in and get some more detail over
here rather than shadow, I'd use a white card instead and the white would reflect
the light back in here and bring back some
detail for me. Today, this is my light setup. I've got the light
diffused on this side, and I've got the black
card on this side making the shadows even deeper and I'm shooting in a box so that I'm controlling the
light back in the back also, and creating a deep darkness
to my depth. [MUSIC]
6. Camera Settings: [MUSIC] Let's talk
about our camera settings for a little bit. If you're a little bit
newer to shooting, I would recommend shooting
an aperture mode, the AV mode on the
top of your camera. I'm shooting usually
in manual mode. But that's because
I already know some of the settings that I want. What I start off trying to figure out when
I'm trying to figure out cameras settings is what aperture do I want
to be sitting at? I want a lot of blur. I shoot for the blur. I like the blur. I want there to be blur
in the background. A lot of times I might
be shooting to add textures and that
needs a lot of blur. I liked the mystery
and the story that the blur adds
to your photo. I'm usually shooting at an F4 because I have done an
aperture test on this lens, it goes down to a 2.8. What I did was I set up my
setting and I did a 2.8, and I did an F4 and
F5.6 and F8 and F11. I took a photo, each of the settings that
I could put it in my lens, and then I looked at
those on the computer. I'm like, okay, which one of
these do I love the best? At 2.8, it was a
little bit to bar, not enough of my
subject in focus. At F4, I had the
perfect amount of blur, great amount of my
subject in focus. The background was beautiful. F5.6, almost too much was in-focus and I
didn't love it as much. I do recommend you do an
aperture test for yourself. You can figure out for yourself, how much blur do you love? Then that's one of
your camera settings that can be set in
stone basically. I know I like a lot of blur. I like to shoot around F4. That's what my lens
is sitting on. Now I can decide how
much my ISO needs to be. If you're shooting on a
consumer grade camera, I recommend your ISO be
somewhere at 400 or below, so 100, 200 or 400. ISO is talking about how sensitive that
camera's sensor is. On less expensive cameras, the sensitivity is not
as good as it is on, say, a pro camera. The higher you push that ISO, if you pushed a consumer grade
camera to say 1,000 ISO, you would have a
very grainy photo. The best way to describe that if you don't know what grain
in your picture is, is to push that ISO way up, take a photo, take it back to your computer and look at it. You'll see lots of little dots all over your photo where
you didn't want it. Then take that same photo at a very low ISO, say 100, 200, 400 and compare it to
the one at the high ISO of 1,000 and see how
much grain is there. What you could do too
is you could take that just like your
aperture test. Take a photo at your
favorite aperture, but change around your ISOs. Take 100, 200, 400, 800, 1,000, look at those pictures on your computer and
decide for your camera, where does that grain
become unacceptable. I shoot now on a pro camera. But when I shot on a consumer
camera for many years, the grain after 400, that grain became unacceptable. On this camera, I
can shoot up to probably 1,000 and it's
still looks pretty good. I can shoot in lower
light situations and because I like
dark and moody photos, that's perfect for me. [LAUGHTER] That
is what I figured out what my other camera
didn't let me do, it didn't let me shoot in low
light situations as easy. I could certainly do it. I can set up on a tripod and slow down my
shutter speed to let enough light in at a setting that wasn't
going to be super grainy. That's what we're looking for. How much blur do you like? I like it to be at four. How much grain can
you stand or not stand and your ISO needs do not go any higher
than that number. We'll say 400. The only other thing
that we have to decide then is how
fast is that shutter have to snap to get
the right amount of light in for properly
exposed picture? That changes. If you don't know how to use the
manual very easily, manual settings, set it on aperture mode and
pick that aperture. Set your ISO on a setting
rather than auto like set it on 200 and it'll stay there and your camera will figure out
the shutter speed for you. I love that about it. If you're doing manual, then you'll just go ahead and set the scene
up and meter it, and then adjust
your shutter speed until it says, good exposure. With your exposure line that you're seeing in
your eyepiece there. I'm shooting here on 100 ISO. I had the lens set on F4 because I'm using a
manual lens today. 1/25th of a second was great for the amount of light
that I have coming in. If I'm at 1/25th of a second, I am shooting fast
enough that I can handhold and I'll get a
nice tack sharp subject. If you're shooting in
low light and you can't shoot at least
1/60th of a second, then you need to
set it on a tripod. Because anything less
than 1/60 of a second is liable to give some
shake to your camera. It picks up any movement at all. If you're hand
holding, you're not going to be able to stand still. Just breathing makes you move. Even if you're
holding your breath trying as hard as you can, I still sway a little bit. [LAUGHTER] If I don't have enough light for at least
1/60th of a second, I'm going to go ahead
and set up on a tripod. But if I'm faster than that, I might consider moving around my scene a little bit faster. If I'm at like 1/25th
of a second well, I know that I can shoot all over that scene handhold and I'm doing pretty good and I'm getting a nice tack
sharp subject. Just decide when you're doing your little
test for aperture, what's your favorite aperture? Then where does the ISO need to be below before
it gets too grainy? That's two settings that
are already set in stone. Then your third setting is how
fast is the shutter got to go to make this properly exposed based on the
other two settings. Or just put an aperture mode
here on your camera AV mode. Pick the right aperture and let the camera decide on
those other settings. You can do that too. [MUSIC]
7. Shoot Recap & Editing in Lightroom: [MUSIC] In this video, let's
just take a look around a few of the photos that
I took of this setup to give you some ideas about what you might
take for yours. Then I'll edit a photo just
to see what we can do here. I started off just
taking my first shot. I had the ballet
shoes in the frame with one shoe that you could
see and a toe coming in, a little bit of a crown, and our pretty top
there in the back. I'm just going to
hit the auto button and then tweak from there. Sometimes it's just easier when you're manually doing
things just to go down and start playing with the
sliders to get a look you like. I'm just going to drop some
points here on our curve and pull some of these in. I want it to be a yummy,
dark, and moody setup. I'm just tweaking our
curve there a little. And then I'll go to the very
top and tweak that again. I might come here into
my color grading. Sometimes I like to add a slight little blue
tinge to the shadows and it just gives a slight
yumminess to the photo. It's very, very slight though. I'm not overdoing it
by coming way out here and making the shadows
super-duper blue, but sometimes, just that little
bit of a twinge of color gives it a luminous feel that you don't get
any other way. I tend to like that
little bit of color to be slightly blue. I'm not going to
do the highlights, I just want the shadows. I'm going to go ahead
here in the sharpening and pick a point. I'm going to pick our point
right here to be our crown so that I can see
what's being sharpened here in my little
sharpening box. I'm going to push
the sharpening up, but I'm going to mask it. I'm going to hold down
the option Alt key and as I hold down
this mask box, you can see the whole
thing is white. Right now, every single
pixel in that photo is being sharpened. That's a problem because then we're going to
make a lot of grain that we didn't intend to. If we pushed our ISO up high and we already had a little
bit of grain in there. We're really going to
magnify that grain and I don't like that at all. If we will hold down
that option Alt key while we are moving
our mask slider. Anything that's white is
what's getting sharpened and I can now determine how much of that picture
I want to have sharpened. Then I also like to come
on down to the effects, which is the vignetting. I'm going to add some
vignette in here. I'm going to add a little
bit of vignette in the dark. If you want a white vignette,
you could do the white, but I'm going to go in the dark. I want a fairly large midpoint
that's nice and round and feathered really
nicely and there we go. Look how pretty that is. Then once I've got
all of those set, I'm going to go back
up to the top settings and just tweak a little bit. I am keeping a look up
here at my histogram. I do know that I have nothing
down here in the blacks because if you'll remember,
when we came to the curve, I pulled this bottom
control point up. What that did was
eliminate the blacks and made them more
of a charcoal gray, which made it more film-like. If you don't like
that matteness, then don't pull that
bottom control point up, but I love it. It's kind of what is a
signature there in my style. Sometimes I'll pull
the whites down also, just for that
old-timey film look. It is what makes up
part of my styles, so that when you see most
of the photos that I do, like on here where I'm
developing things, it becomes part of
my signature styling that I tend to like. Now that we have
edited the one photo, look how beautiful that is. I can now very easily edit several other photos using
those same settings. I can simply right-click
on the photo that I want. I can go into the develop
settings and hit Copy Settings. Here's what I'm copying. I'm not changing the
exposure of my picture, but I am changing all
these other settings. I want to leave the
exposure unchecked so that my settings don't reset the exposure on each
photo as I set it. When I'm making presets, here's the settings that I save. I don't save the
exposure in a preset because I want these presets to be as versatile as possible. If I can set my exposure
on whatever photo I want and then apply a preset and
it not reset the exposure, that's what makes it versatile. I'm going to copy those settings and I can either create
my own custom preset off of what I've just done, or I can come here,
I can hit the auto, I can right-click and
paste these settings and then I can tweak it
if I want to tweak it. Oh, look at that.
This is so beautiful. I just started moving
around the photo. Changing the props. I'm just going to go ahead and paste our settings each time because now I know
these settings will work for this setup. They were all taken
at the same time, in the same lighting situation
with the same setup. I can just go through and very quickly edit
an entire collection. Look how pretty that is. When I'm taking photos, I'm keeping in mind
the rule of thirds. The rule of thirds are
these imaginary lines breaking the photo
up into thirds horizontally and vertically. When I'm thinking of what it is that I want to be
the main focus, what I want to be in focus, to be my subject, I'm positioning those either
on one of these lines or at one of the spots
where the lines cross. That's what makes a more
interesting composition and allows your eye to
look around the photo. Then if I just centered
everything and went with it, centered is not interesting
unless you very purposely have a photo that you
can center on purpose. I mean, maybe a giant dahlia. The center of the dahlia is
the center of the photo, but in something like this, and unless I've got a
reason to center it, I always line everything up
and then slightly off center, whether that be to
the right or the left or on a portrait tight
photo like this, whether that be this lower
line or this upper line. I'm always centering it up to line up my focus
and everything. Then I'm shifting just
slightly so that my subject lines up somewhere on
this rule of thirds. Look how beautiful that is. We start here and then
we can roam around and look at the background. You can see here because
we shot in that crate, that darkness has
some depth in there and it looks like the
scene continues on. In your imagination,
you could imagine whatever that is back there. I just kept moving
around the photo. Let's go ahead and
apply our settings. Here, I'm focusing on the
ribbon and the crown. That little bit of background
and how pretty that is. These just are so beautiful. [LAUGHTER] Here we can
see a little bit more of what's back here and that
the scene continues on. That's not my favorite
composition, but I do like it. Sometimes I take a lot of
photos in one direction, like this vertically, or
sometimes I will take a lot of photos in
the portrait mode, which I happen to do a lot
of portrait ones this time instead of the landscape
that I've done here on this, but I do like both directions. I like getting a
variety of portrait and a variety of landscapes. When you're shooting, vary up the angles that
you're shooting at. Look at that. It is just
so beautiful and moody. When I pair these up as pairs because that's like the thing
that I love to do now is I love to create
pairs of photos. I like a pullback. I like a detail like this. On our photo assignment, we have a pullback assignment and we have a detail assignment. On something like that, we can have this
as the pullback. We can have this as the detail. I have got a great pair
that I could print out and hang as a set. I love pairing up photos and
creating beautiful diptychs. If you think of
things like that, like what is a beautiful pairing
of the different photos? You'll work your way around
the photo a little more. You'll start thinking
of other things like, what detail shots could I get? Look at this pretty crown
in the top of the costume. That's a beautiful detail shot. Crown by itself with
some fabric rushing, that's a beautiful shot. I want you to start
thinking of that. I want you to pull back. I want you to get in close and I want you to give me a variety of shots when
you're taking them. Alright, so look at how
fast we edited that, we edited one photo so
that it was perfect. Then we copied and
pasted those settings throughout the
rest of our series and made it really easy
to edit fairly quickly a really beautiful setup. I just love all of these. I hope you enjoy your
dance story-type setup and I can't wait to see what you've come up
with for this story. I'll see you back in class.
8. Final thoughts: [MUSIC] [LAUGHTER] I love
when we get to the end. You've seen everything
that I've put together for you
today and then you go and you pull together your
own cool set to photograph. I want you to make
sure that you come back and share some of
those photos with me. I get so excited to
see how you interpret the different themes and come up with the props that
you come up with. I find it inspiring myself. It gives me new ideas too, so don't forget
your class project. Gives me two photos, one pull back and one detail of the scenes that you've come up
with to photograph. I can't wait to
see them. [MUSIC]
DENISE LOVE, Artist & Photographer
