Transcripts
1. Introduction: Hi, I'm Tabatha, and I'm
about to show you how to level up your product photography using
all your phone. I've been doing product and food photography for the
last eight years, and there is a lot to learn. If you've ever felt overwhelmed
by the idea of taking pictures of the
projects that you're working on or the products
that you're trying to sell, you've come to the right place. I'm gonna show you
my favorite exercise for finding the best
light in your space. We're gonna be shooting
with natural light in this class so
anybody can dive in. All you're gonna need is a phone and something to
photograph. I will see you.
2. Phone Settings and Tips: Thanks so much for joining me. For the class project, I'm
going to show you how to take three unique images of a product using natural
light in your space. I'm going to be
shooting this tiny, adorable crochet amgarumi
chicken that I made, but feel free to sub in
your ceramics, your yarn, any other project
that you have that is three D that you
want to photograph. For this class, all you are
going to need is your phone. I'm going to be shooting
with an iPhone 15. It has the three cameras, so it'll switch from
macro to regular mode. Whatever camera phone you
have should do the trick. A lot of the things that we're
going to be talking about are light and depth contrast
that kind of stuff. But I will dive into some iPhone specific
settings so that you can get yours set
up just like mine, and we can begin shooting. So, to get started,
we are going to want to head into our
camera settings. So we're going to jump
into the settings menu and scroll down till we see camera. We're going to
open up this menu. The settings that
I have that are different than the
default is the grid. I like having it on that puts the cross hairs
on your screen. I like having the level
on that helps you know if what you are shooting
is level with the horizon. And then view outside the
frame. I have it toggled on. That just shows you the area around what's going to
be taken of the picture. It's not going to
be in the picture. I have it on if it's
confusing to you. You can go ahead
and turn it off. In the format menu, I have high efficiency checked. If you are running
into the issue where you're trying to send
photos via e mail or upload them on a site and they are the
file format H EIC, this is how you turn that off. You just tap most compatible. The reason I have high efficiency
turned on is because in order to take four K 60
frame per second video, you have to use H EIC. So it doesn't really
matter for our class, what you'll do with
either of those. Um, P ran resolution Control. You can turn that on if you
want to take raw photos. I personally haven't noticed a big difference
when I'm editing, having raw versus
not on my phone. So I just leave it off
so that I don't worry about taking too big of photos
or needing to edit them. And then that's
everything I have in this formats menu. All right. So when we are actually
using the camera, let me just show you
around a little bit. This lightning bolt
is flash on or off. It's only going to toggle the
flash if it's dark enough, so we probably won't need
to worry about that. This is life photo. I always turn live photo off. We're wanting to work
with still images, not little gifts, and so I'm
going to turn that one off. This down here is
the flower icon. For most of the images
that we'll be taking, we're not going
to be doing macro because macro is going to make everything in the shot in focus, and we want that depth of field. When we're shooting,
you'll see me toggle the flower icon off so that we're not using
that macro lens. These dots down here,
the 0.51 x two and five, that just switches between
your different cameras. And so the 0.5 is going to be a super wide angle and show you everything
that's going on. The one is what it's
going to be standard. That's a 24 millimeter. You'll see me tap that to 28
and then tap it again to 35. 35 is usually what what
I prefer to shoot. And then sometimes if I need to bring the subject closer
and I like the composition, I will toggle into the two x. The five x I would never use for product photos just because you're losing image
quality at that point. This little carrot up
here, this arrow up. It opens up a second menu. This is again, where you can
access the flash, the live. This is like filters. I don't use the filters
because I plan on editing, so I want the photo to not have any alterations except for the ones that I
will put on there. The four by three is the ratio. I just keep that
at four by three. This plus or minus opens up our exposure compensation menu, and I'll show you how to use
that one we're shooting. Then lastly, is a timer. If you were setting
your phone up on a camera and you wanted
to be in the shot, that's when you
would use the timer. We're not going to
use it in this class. So, yeah, that is
our photo settings. So just like a
quick run through, if you tap on the screen, that will lock in the focus
there. There's a little sun. If you go up and down, that's kind of a shortcut to your
exposure compensation. It's going to adjust
the exposure. So you'll see me do
that a little bit. You can hit this button
to take a picture or you can hit the volume button
to take a picture, depending on what is most
comfortable for you. And then the last
thing that I wanted to show you is this
cool little hack. Let's say, you have a picture that you took
that you really like, but you can't remember the
settings that you use. If you just swipe
up on the photo, it'll bring up your metadata. It'll tell you when you took this picture
and what lens you use. You can see mine
says, Apple iPhone 15 Pro Max using
the main camera. That's the 24 millimeter. It automatically
sets the aperture and the shutter speed
and ISO for me. So these settings
I didn't choose. But you can see that the 24 millimeter camera
is the camera that I used, but I had it zoomed
in to 48 millimeters. So if I go to a different photo, you can see 48 millimeters. I'm pretty sure
that's the two x. This wide angle shot
is a 14 millimeter. So I'm using the 0.5. This one's also 14 millimeter. So, this is nice
because I'm like, Oh, if I'm going through and I take a picture that I
really really like, I'm like, Okay, what was
my settings for that? What camera did I use? It's
like, Oh, I used the 35, which means I tapped the
one X twice. That's my 35. This is also a great
little spot for if you're taking pictures of plants and you don't
know what they are, you can swipe up, and it'll see the plant and be like,
Oh, that looks like this. It's really handy because I use that feature all the time. This one's like, Oh, is there
a chicken in this picture? Yeah, there is. My chicken. My chickens. So,
yeah, love that. And then when we go to
actually edit our photos, we're going to tap
into the edit menu and go over all of that. So that is where everything
is on your phone. Do not forget to grab
a little microfiber, wipe and clean off your lenses. I am definitely guilty of taking pictures where my fingers
are greasy in the shot, and I don't want that. So before we start
taking pictures, it's so so important to make
sure we have great light. So in the next
section, I'm going to show you all my
tips and tricks for best lighting with a
phone and the sun.
3. Lighting: All right, this is my
tried and true method for how to pick the best spot around your house
with the best light because it varies based
on the time of day and whether it's a good
practice to get used to doing this pretty much
every time because today's best lighting spot might not be what
it was yesterday. So I start by going to each of the main windows in
my house. I stand hold my object in my hand and then my
phone in my other hand, so I can see what my phone sees. I just do circles looking at how the light and shadow
falls across the subject. I want to emphasize texture with this little chicken
because he's so fluffy, and he's got these
cute little bumps from the crochet stitches. I want to show that off. I
don't want to flatten him out. You can see that as I turn, the shadows change
across her body. Thing else to think
about is more light isn't always better
for product photos. I always mean that when it
comes to mixed lighting, make sure that you're just using window light for this shot, turn off all the other
lights in the room. But it also is something to consider when we want to
incorporate a lot of depth. You might think a big
huge room with lots of windows is going to be great because we'll
have lots of light. But what that does is
it dulls the contrast. I love a higher contrast image where we have
brighter highlights, and we have really
deep rich shadows. That's going to help give our subject definition
and shape and depth. I want to pick a room where I can close all of the windows, close the curtains,
and just focus on one main direct light. This is going to be
our side lighting, and I'm going to use
it to really make our subject stand out
from the backdrop. Yes. Okay this is perfect. Now that we've found
our good light, let's go ahead and
start taking pictures.
4. Photoshoot: All right. Before we bring
backdrops and props in, let's go ahead and just get an easy win and tackle
the product in hand shot. What I love about this shot
is, including your hand, gives your subject
context for size. You can see exactly
how big it is. It adds a little
bit of personality because it's your hand in there, and it's pretty approachable because likely when you're
looking for the good light. You're already
holding it like this. Maybe your backdrop
is beautiful enough that you can just
take a quick picture. If you have a lot of plants
in your home, like I do, it makes it really easy
to have a beautiful, effortless plant
filled backdrop. So I'm going to
go ahead and take a quick picture
before I jump in. I want to clean my lens. Alright. Now, I I'm going to go ahead and position this so that we
don't get the outlets, but we do get the plant, and we don't get outside, so it's going to be kind
of somewhere in here. Alright. So for this shot, your camera might automatically
default into macromde. You'll know it's in
macro mode because that little flower
icon is yellow. So Macromo just basically makes everything in the
background in focus, because if I was
photographing a flower, I wouldn't want there
really to be a lot of blur. But because I'm taking
product photos, I do want some background blur to give my object separation. So you can turn that off by lengthening the distance between your camera and your subject. And if that's not working, you can just tap the
yellow flower icon, and it cancels macro mode. So this means if you go
close up, it's like, I can't focus on that because
I can't use the macro lens. The macro lens has a shallower
minimum focal depth, so you can get closer to your subject and
have it still focus. The regular standard
lens doesn't. So just make sure that when you pull your little guy back, that it actually is
nicely sharp and focus. Now, this point, I'm on one x, and I wish that my chicken could fill the frame a little more
while still being in focus. So I'm going to tap the one X. It'll switch to 28
millimeters. It starts at 24. And then if I tap it again, it goes to 35 millimeters. This is just bringing
my subject forward. It's making my
background larger, and it's also making the
background more blurry. So it's just a
better look overall. So I'm going to go
ahead and snap this once it's nicely in focus, and I don't have the
outlets back there. Perfect. I'm going to try to position it
with the little plant. Awesome. Okay. So
that's pretty good. I kind of want it in this
spot because I feel like the light and shadows are
a little more dramatic. So I'm gonna bring
this little box in. And we'll use the
little chicken body to hide those outlets. What's cute about the green
plant is that it offers a lot of fun color contrast
because the chicken is red. And then maybe I'll
hold his little arm. It's to her. I keep
calling it a his. He looks like a little man. Maybe it's a rooster.
There we go. Hey, little friend.
Alright, awesome. That was easy. That
was a freebie. Next, I want to show
you how to get that super clean, seamless
backdrop, look, which would be a little
more ideal for, like, a product listing
page because it's not gonna have any possibly
distracting elements. So I'm going to go ahead
and get that set up. Mm. That's enough
sweating for today. Alright, so an
armless chair makes a great little impromptu
backdrop stand. This is a painted
slate canvas backdrop that I made in my painted
Canvas backdrops class. I looked through
every single color of paper backdrop that I had, and I wasn't loving anything, but this dark slate really
helps the chicken stand out against the backdrop because the light hitting him
is nice and bright, and then the light on the
backdrop is a little darker. More so if you kind of tip it so that light falls on
it less, but Anyway, it's also nice because
if I need to rotate, change my angles a little bit, I can move the
chair and it makes it super easy and simple. So for this one, we are
going to take a shot of it sitting down so we don't
have our hand in the shot. I'm just going to make sure that my little chicken is
as clean as possible. This is less that I'm
going to have to do in post to get any of the
cat hairs off of him. And then same with my backdrop. This backdrop has a
little bit of texture, which can be a
good thing because it'll provide a little
bit of visual interest, but it might also
be distracting. We'll kind of have to take a
look and see what we think. But we'll put our little
mans right in the middle. Here. And then jump
back into our camera. So again, same thing, if we're just on one x, there's a big C of
background here. And I really want to get in on this little
chicken's texture. Being closer to him makes him a little bit
distorted, stretched out. And so I'm going to just
tap that one x twice to get me back into my 35 millimeter Lens. And then I'm also
bringing him forward, so there's more distance
between him and his background. The nice thing also about this chair is that I
can get lower down. If we were on a table, I
might not be able to get this nice low angle without flipping my
phone upside down. So this is very
comfortable for me. We've got beautiful light. We've got a beautiful subject. So right now, what's happening is it's trying to make
my backdrop lighter than it is because the
camera's auto exposure wants everything to be
basically middle gray. And since this is
darker than that, we want to just tell the
camera to get a little darker. So I'm gonna hit
this little arrow, and it's going to open up
a second menu down here. I'm going to hit the plus minus. This is the exposure
compensation. So I'm going to drag
back and forth, and it's going to change how
bright or dark the images. So in the middle, it's
a little bit bright. These highlights
are kind of hot. They're over exposed
on my camera. So I want to bring the exposure
compensation down just enough to bring the information
back in those highlights. And I feel like that
looks so much better. It's a negative 0.7. I'm going to snap a pick. O h, yeah, the difference
between Macro moode. I feel like macro
mode is like lower. It tends to look lower quality, too, like when I'm
looking through the lens. So just make sure you're
backed up enough that you are using that main camera. We're going to get nice
and up in his fees. Awesome. Okay, so
that's how I would do kind of your clean and
simple basic background. So at this point, like,
if you were doing a lot of bulk photography
for, you know, filling up a inventory online
inventory for your store, you would swap in all the
other chickens that you have. Make them look their
best, you know, and do the same kind of
thing where it's like, you've done the work
once to set it up. Now, we can use it to fine
tune per little Burgi Oh. This one's so. Little bi. Very, very, very cute.
Okay. And that's something else I want to show, just because it's interesting. So, I like that there is a
bright side and a dark side. If I bring my hand in closer,
I hope you can see that. It fills those shadow areas. You could use a reflector and
fill in your shadow areas. That's going to give you
a lot more even lighting. That's without. Honestly, both look good. This one does actually stand out really well
from the backdrop. It's very evenly lit. If you were going to try
to AI this background, that would probably be the one
I would choose to go with. But this one I think
is effective, too. We've got a little bit of drama. So that's just one quick tweak that you can use to make it
look a little bit better. Now that we have in hand shot, our simple product shot, let's do something a
little more lifestyle. I'm going to set up
a kitchen scene. I thought it would be
really funny since this chicken is
based on a tomato, a little tomato guy. I thought it would be cute if
we put him in a fruit bowl. And so I'm going to put my backdrop that is
peel and stick tile, a butcher block cutting board, and a fruit bowl, and then we will start shooting
him in more of like a storytelling
a lifestyle scene. Alright, so here is my scene. I feel like this came
together really cute. Obviously, we could go
into an actual kitchen, but the light is
really beautiful here, so we'll bringing
a kitchen to us. I'm going to set our little
chicken in this fruit bowl. I kind of like the idea that, we have a gradient, so I have
these limes that are green. The lemon is yellow, and then this chicken is
like a orangey red. So if it kind of goes
red to green that way. The garlic is nice because
I add some fun texture. I think it'd be
funny if he's like, poking out a little bit. So love that, adding a little bit of
whimsy. He's not straight up. And then I also brought
a knife because I thought that that might
add a little bit of, like, wild attention to the shot because if
you see the knife, you're like, Oh, my gosh,
are you gonna slice him? And it might like Help
be a little bit wild, and I don't know out of the box. So we'll probably
do some with and some without and then
see what we think. So what's tricky about this shot is my backdrop is only so wide, and I like being further
from the backdrop, so it becomes less in focus. That's only important
because you can tell that my backdrop is
a peel and stick. And so if we can make it a little bit blurry, it's
going to look better. You can see when I'm at one x, we can definitely
see those edges. So I'm gonna tap and tap again. Now we are at 1.5, which
is our 35 millimeter lens, and I feel like that
does the trick. I'm going to make
sure I'm not, yep. Okay, so my flower is on off, so it's not going to
toggle into macro mode. I'm just moving my
knife ever so slightly. And then I'm going
to just adjust these. Roots a little bit. And something else
that's kind of important for this is getting
the horizon straight. So make sure that you
have your grid on. I'll do the little level thing. It'll snap when it is
perfectly straight. And then something
else to consider is, if you are liking the light
a little bit like this, just turn your
whole scene, right? Like, if I liked
the light this way, but I'm seeing that background, I can just turn my entire chair. That way, I can still keep
that background straight. So cute. Oh, my gosh. I love how dumb
and cute this is. My dad made me this bowl out of a tree from our
property here. They logged a bunch of trees, and there
was this big stump. And anyway, he carved me this bowl out of
Western Red Cedar. So that brings me joy. It doesn't matter. You know, you don't
have to have, personal touches like
that, but, like, when I look at this picture, I think of that, and
it makes me smile. Okay, let's do some
without the knife. He seems a little freaked out. Okay. Oh, my gosh. It's so cute. I love this because, like, what this image is perfect for is like
sharing on Instagram. Someone will be scrolling,
they'll see, you know, the typical kind of setups
where, you know, it's like, sweet and plain and
adorable, and then you see, like a fruit bowl, and
you're like, Oh my gosh, is that chicken supposed
to be a tomato? And it just kind of
like, I don't know. It makes space for things to be a little
bit weird and silly. And I think there's always more opportunity for
that in our lives. Oh. Okay. Something
else you can do. If your backdrop is not
quite large enough. You just cover up the
edge with a plant. Add a plant, baby.
Add a little bit. He's like, peeking
behind the plant. He's like, What's up gamers? Okay, this is making
me a little too happy. Alright. I think we got three really beautiful images completely different
from each other. Would be great to
fill up a feed. Let's take our three
favorite images and get them edited in
the next section.
5. Editing in iOS and LR Mobile: Alright. So I went through and hearted all of my favorites so they'd
be easy to find. We're going to start
with this first one. I feel like it turned
out. Really cute. So let's go ahead and
get this edited using the Native iPhone
editing program. So I'm going to adapt that
little blue edit button. This brings us into
our adjusted window. Alright, so basically
at the bottom, we have all of these
little toggle adjustments, and then a dial that we
can turn up and down. You'll feel your phone kind of shaking as you make
those adjustments, which is great haptic feedback. So for exposure, so that's
usually where I start. I feel like my exposure
is pretty right on. I always like to kind
of rock back and forth just so I can see my options. This obviously is too bright. We're going to keep it
right in the middle and move forward. Brilliant. This one kind of
just like brightens the whole photo overall. Again, I see if it looks good or not and roll
it back and forth. Highlights, if I had
some bright spots like right here in his com, that were a little bit
too hot, too white. I could bring those down. That also added a lot
of color into his body. I actually think that bringing the highlights back helps a lot. So I have that set
to negative 26. The next one is shadows, this way we'll fill
the shadows and then this way will
deepen the shadows. I like them deepened. Contrast would do the same thing as both of those two sliders. Contrast up makes the darks darker and the brights brighter. I have that up a little
bit. Then at this point, I like to see if I'm going
a little wild and wacky. If I tap on the image, it'll go back to my original. You can see, this is the
original and this is our edit, and you can even tap
between and see just How much the changes
you're making are actually
impacting the photo. Next step, we have brightness. This one will
desaturate the image, so I'm going to
leave it at zero. Blackpoint. This will bring light into the blacks or make them darker. This is what you would do
if you liked that fad look, if you know the Fad
edit in Instagram, bringing the Blackpoint
into the negatives is going to give you that faded
look if that makes sense. Stylizing. I like it a
little bit saturation. If we wanted those
colors to really pop, we could crank the saturation, I'm going to kick it
up just a teeny bit, and then same with the vibrant. They're a little bit
different from each other. Sometimes it's nice
to see what they do. The vibrance is making my
gray wall green though, so I'm not going to
use very much of it. Next, we have the warmth slider. If your pictures are coming
out a little bit blue, you would want to add more
warmth to them or conversely, if they're coming out
yellow, you take it away. Like to kind of rock
between this one to see what feels like the
temperature I want. I obviously want my chicken
to be nice and warm. I also have my skin
in this picture, and so skin tends
to look a little weird when it's purply bluish. So making sure that
that looks as true to life as possible is what's going to make
your picture best. Tint is the scale of
magenta to green. So sometimes when you're
photographing plants, the greens tend to take over, and you need to add a
little bit more magenta, but I feel like our image
is pretty right on. Sharpes I like to kick up. This just helps your
image look really, really nice and sharp. It is what separates
kind of a dull, blurry phone photo from one that might be taken
with a professional camera. So I feel like that
is an easy way to make your photos look better
is just sharpening them. Definition is it's
like a crunchiness. I feel like sometimes it
adds, sometimes it doesn't. So I'm neither here nor there. Noise reduction is
great if you're shooting in low light or you're shooting with a camera that
has ziness to the background. Noise reduction, you
would pull that up. I typically do sharpen
and noise reduction. I feel like that just helps just dial in the photo
and polish it up. Then lastly, Vignette, this will add that dark shadow
around the edges. I almost never use it. Now, let's go ahead and
take a look at our image. This is original and
then this is after. This is before, after. Before after. I feel like we've
made a lot of nice, subtle progress to our image. We deepened it added
a lot more contrast, and it has that fun pop to it. So loving this. At this point, I would
call this image Done. So I'm going to hit
the Done button and it's going to save our edits, and now it's ready to share. Now I want to show you
why you might want to have adobe light
room on your phone. So this image, my backdrop,
like I mentioned, is a little bit crinkly, which adds some fun texture, but if you don't like
it, you can remove it. So I'm going to go into
Light room mobile. So I have the
Photoshop Light room. I have the Site. I
have all the apps. And so included in the apps is the
Lightroom mobile access. And so if you let it see
your whole camera roll, you can just pull your
images into here. And hopefully, it lets me
go to just my favorites. Y, I put the hearts on photos that I liked so that this
process would be easier. So we're going to pick
this little chicken guy. And I want to show you, so the editing is
pretty similar. You've got, you know, if you open the drawer for
editing the light. You know, my exposure
looks pretty good. I'm going to up my contrast, and my highlights
are too bright, so I'm going to
bring those down. My shadows, I think I can add a little bit more
light to the shadows. Already, I feel like my
edits are a bit tic. So I'm just going to turn
those down drills to snitch. It's also nice because you
can do like a tone curve S. So you make this
curve do a little S, and it's really dramatic. I don't think this
looks very good. So I'm just going to undo. I'm just going to
hit this little back arrow to undo the curve. The curve was a bit wild and wacky for what
I'm doing here. So the color drawer, very similar, temperature
tint, vibrance and saturation. You can also adjust
the color mix. So let's say that
you're like, Man, that red really
turned out to orange. I wish that it was more pink. You could swipe it down here. Now it looks like a strawberry. Slide up here, now it
looks really sick. So we're going to We're
going to do that. I'm going to skip
over the blur menu. I don't feel like our
photo needs blur detail. We're going to do
our noise reduction, taking that up, we're going
to sharpen, bring that up. Then let's get into
the fun stuff. A lot of that was very
similar to what we did with the native
iPhone editor. But with this, we
can do some masking. Right now, you can see there's a bright spot on this
edge of the photo. I want to add a mask,
a linear gradient. I'm going to open the mask
menu, tap linear gradient, and then draw on
the screen where I want my gradient to go. Now I have a mask there and
what I want the mask to do is bring my exposure
down just a little. I'm going to adjust
this to tune in. Yeah, there we go. It was just a little
bright on that side. So I think that that is good.
I'm going to accept it. So if you hold down, you can see before and after. So this is everything
that I've done so far. Alright. What I'm
really excited to show you is this
little band aid tool. So this is the healing menu. You slide this, you can
make it bigger and smaller. We're going to go
about mid size, and I'm going to tackle this
crease in the background. So all you do is draw over it, and then it will automatically
sample from a nearby area, smoothing out those wrinkles. So I've got another crease right here. I'm going to
do the same thing. Basically, just drawing and waiting till we get that
backdrop looking really, really smooth and nice. We're going to target any spot that's very obviously
distracting, and then just kind of
keep tapping and swiping until it looks really
smooth and good. This tool is great for if
you have little cat hairs. I tried to do really good getting them all off,
but there is still some. There's this tiny
little one right here. Great. Loving the
texture going on here. I feel like that was
captured really well. Sometimes it's clumsy. I'm like, I'm not touching
that with my finger. I'm trying. But if it
looks bad, you undo it. If it looks Good enough,
you just keep it, you know. Doesn't have to be
perfect. This is a super addicting process. If you're the kind of person who likes these little
edits like I do, you could spend hours
just like tapping and smoothing. The whole photo. So just fair warning, you might become obsessed. Welcome. So really happy
with how that's looking. I'm going to hit the check mark. And then let's go full
screen so we can really see our before and after. So holding down long pressing
gives us the before and then letting go is after I really feel like we cleaned
up this image super well. We deepened those reds and
really made our chicken pop. So when we like our image, we're going to hit
this little arrow, this send button, and then
hit save Copy to device. It will export a JPEg, and then you can share that
anywhere that you would like, and it's super super great. Lastly, I'll just do
a couple quick edits on our little chicken
in the fruit bowl. I'm just going to stay in the Native photo editing
app for this one. So we're gonna bring
the exposure up. I think when I
took this picture, my exposure
compensation was down. Actually. Let's double check. So you can see in this menu, it is negative 0.7
exposure compensation. So it just made the photo darker than the camera wanted to. It's not a problem. Obviously, we're going
to be editing it, and I thought the
photo looked good. It's not a problem. I
was mostly just curious. It thinks my chicken is food. That's so funny. It thinks it's Laura's upside
down pineapple cake. Pretty close. All right. Let's go to this edit menu. We are going to bring the
exposure but not too high. I feel like there's
better things to get what we're looking
for in this image, like maybe the brilliance. Ooh. I feel like that just
makes everything so pretty and shiny, brilliant. I'm going to bring
the highlights. Oh, not too far down. That was a little spicy. Shadows, I like
the shadows down. Contrast, I feel like it's
in a pretty good spot, but I'm going to roll
it up just a little. Brightness can come
down a smidge. Black plain. Oh, that's so fun. I don't experiment enough with the fade, but I feel like that looks fine. Saturation, I'm going
to skip over and then go right into, actually. I thought I wanted vibrance. Maybe I just a tiny
bit of saturation. This photo is already pretty high contrast,
pretty saturated. And then the warmth
slider for this, I'm really looking at
these white tones in the tile and making sure that they are
coming across as white. Same with the garlic.
It's nice when you have an item in the shot
that you know is neutral so that you can use that as your little target.
The tint looks good. We're going to sharpen
because we love to sharpen. I feel like the definition
definitions like clarity. I'm okay leaving it at zero. I'm going to do just a
touch of noise reduction, and I think we are
basically there. There's our original,
and here is our edit. Sometimes when I see my edit
compared to the original, I'm like, Oh, wait a second. I actually need my
highlights to come down just a little bit more
there we go. Journal. Yeah. I feel like
that looks so good. I love our little chicken Bowie. Okay. So that is basically your crash course on
using the iPhone editor. Sometimes I skip over
the iPhone editor, and I just edit my
images in the Instagram editing app because a lot
of my images end up there. And so any of these editing
tools can be really powerful, especially when you set yourself
up for success by having great light and
captivating compositions. Here are our three final images. I'm super excited with
how these turned out. Hopefully you feel inspired
to photograph your projects, creations, anything
in your life that you want to take better
pictures of to share online. I hope that this class gave you a lot of camera confidence, and I hope you'll join
me in the next one.
6. Final Thoughts: And that's everything. Thanks so much for
taking my class. I hope that you had fun, and I hope that this was helpful to see my process for how I go
about finding great light, photographing my subject and
editing to make it its best. If you enjoyed this class, I hope that you'll check
out my profile and see all the other classes
that I have over there. I have over 35 courses
on photographing food and products and people creating your
own backdrops and more. Thank you so much for your time, and I look forward
to seeing what you create in the class project.
Let's see you next time.
Tabitha Park, Product & Food Photographer
