Transcripts
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]
Tabitha Park, Product & Food Photographer
