Making a simple Photobook or Zine | Jahan Saber | Skillshare

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Making a simple Photobook or Zine

teacher avatar Jahan Saber

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

    • 1.



    • 2.

      Inspiration and First Steps


    • 3.

      Working Prints


    • 4.

      Before Sequencing


    • 5.

      Sequencing Step 1


    • 6.

      Sequencing Step 2


    • 7.

      InDesign Overview


    • 8.

      Production and Export


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About This Class

In this class i'm going to give you a basic tutorial of how to arrange and organise yourself in order to produce a simple photo-book or zine. 

Meet Your Teacher

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Jahan Saber


Jahan Saber is a photographer and artist born (1990) and based in Vienna, Austria. He is the founder of "DEVELOP" - a brand that focuses on raising awareness for the analogue process in photography and beyond. Coming from a commercial background in the photo industry he sought out to seek out a means of decelerating the over-saturation and over production of photographic media. Shooting and printing exclusively with the analogue process enables him to further his artistic approach into creating a more honest and connected portrayal of his surroundings.

Jahan has travelled across Europe throughout the past 4 years discovering his style and approach to analogue photography. Throughout his journeys he self published various photo-zines and small book projects.

Member of the A... See full profile

Level: Beginner

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1. Introduction: alone. Welcome. In today's class, I'm gonna be talking about how to make your own photo book photos seen whatever you wanna call it. You have photos. You want to turn them into a piece of work that you can take around and share with your friends. I'm gonna show you how to do it. So I've been making photo books since around four years now. I've always been just doing them for fun and kind of, you know, selling them on my instagram and just sharing them with friends and things like that. And I've made them in different formats. I've made, like, photos scenes, which are kind of like like, magazines. I've made small photo books. Which arm or hardcover? Kind of, um, books. Andi. I've taken workshops with well known photographers all around the world, all about sequencing on how to make a design a good photo book. So in this class, I'm hoping to share some of my knowledge with you. Andi. Yeah, I'm not gonna waste any more time and let's get started. 2. Inspiration and First Steps: huh? Okay. So right at the beginning of the production of your work, you might already have a new idea. Or you already know exactly what you want to do. Like, I don't know. Maybe you went on vacation. You know, it doesn't have to be anything exciting. Maybe you just you know, you where you were, maybe taking photos of a wedding or you were traveling somewhere on. Do you just want to kind of turn that into the book? And you already know what you want them. That's really good. But let's say you're working on you. Just, you know, maybe you're just like a casual photographer and you come in the one of put your work together and you don't really know what kind of theme to orient yourself around or what you really want to achieve with the work Them. A really good thing that you could do right from the start is kind of be inspired. Andi, the best thing you could do is just have or collect if you're into that photos scenes. So, for example, this is one that I made myself, and you'll straightaway notice that every local scene so a Xena's is typically something like this. So it's It's like a kind of like a magazine Revie. It doesn't have to be very high quality prints, but it's all about the photos. That's what matters. Andi. Yes, so what's really great? It's just, you know, be inspired. And instantly you'll notice that, like the style of every single scene here, is completely different. You know, when they come in all sizes. No, this one is very small, and there's a lot of like this is very strong, like mats kind of black and whites. And then, you know, it goes all the way to, you know, buying, buying, Ah, published book by like a famous photographer, You know, everything. Everything in here is it's just, you know, it's amazing, and it's all of this is like your source of inspiration. So this is really something that you should, you know. If you're really incident, then then this is exactly what you need to be doing, and it will help you so much in order to understand exactly where you want to go with your work. You know, you could gather inspiration and just see how other people did things on. Maybe you know, you have your own take of things. You know, maybe you're like, Oh, like, for example, I really like how the tomatoes I think in the water here are, you know, matching the street sign over here. You know, andan, You know, you'll pick up things like that, and it'll kind of train your eye, you know? And I think that's the most important thing. When you're putting together a body of work, you want to really be able to convey your message. You know, like here, for example, again, you know, you're you're matching things like the color tones, like blue here in blue. Here. Now, you got the green here in the green tones right here. You know, whatever. I could go on forever. But anyway, so yeah. I mean, if if you already have an idea, then that's great. If you don't, you know, really, really get inspired and have a look at different photos, scenes and photo books and really get inspired with them because there's so much, you know, information in there and so many things that could pick up the comm. Pretty help you. Okay, so now that we talked about this, let's get into the next 3. Working Prints: Okay, so let's assume that you have all the photos ready that you want to include. And you have, like, a broad idea of what you want to do with. So the first step that you should do? Uh, definitely, always you wanna always be working with riel prints, real photos in front of you that will help you so much. It's so much easier to organize yourself with something physical in front of you than if you just have files on a computer that you're like moving around or whatever. So I mean these air, these air darkroom prints these air like, I'd say, moderate quality, nearly high quality. You don't need to make expensive prints or anything like that. It's It's completely fine. You know, if you just print them on your like home printer or, you know, you get, um, done. I don't know what the library or wherever you can print things. You know, like a print shop. They don't have to be expensive. They can be as cheap as it gets, as long as you could more or less identify you know what's on the photo and because essentially, what you're gonna be doing with them is. You're just gonna you know, you're gonna be moving around with them. You're gonna be like, OK, this one fits with this one. This one fits with that one and whatever. So you kind of have prints that you work with, you know, your maybe you're gonna take them to, like, a cafe or to a friend's house to get a second opinion or whatever, you're gonna be really working with them. So there's there's no need, and there's no need to invest at all into making expensive prints. The only thing that I would really pay attention about is if you're like so these are all black and white images, so obviously there in black and white. But if you have color images, make sure they're in color and make sure the colors of the prints are more or less accurate again. They don't have to be high quality, but they should be more or less accurate. So when when you're sequencing and when you're kind of combining the images together, they should have there. Shouldn't. They shouldn't be completely off from what the final print will look like. So that's the first thing that you do you get everything ready on day thing, you can start working on them, and that's what we'll do in the next. 4. Before Sequencing: Okay, So now that you have all your printed images in front of you and you're ready to go, comes the most important part of making your book work together. Andi, that's the order in which your photos appear to the reader to the viewer. So how they are sequenced. A good photo book is always like a well structured story. So you don't just look at one image after the other as a single photograph, because you really want to kind of create a rhythm to it. You want to, you know, grab the attention of the viewer and really give your work on an additional meaning when you're when you're presenting whatever images you have even know and discounts forever anything, even even if it's something very trivial something No, it just could be like, You know, you're you're documenting your vacation and you know nothing exciting is happening. But you want to add some sort of river or you want you don't make sure that it's in the chronological order and things like that, and that will really help your images to stand out and really, really just work well. So I'll give you a few examples um, things that I always pick up on things that I always find really interesting. Once again, we're going through, you know, my source of inspiration and things that I would look at, You know, like, if we're just flipping through the pages right here, you know you can you start to notice, like, all sorts of interesting things. You know, you got these, like so we're talking about structures. You got this, This kind of, like, white table right here on its rounded. And you have that kind of round shape here, and you can see there's this, like, duality. That how these these two things work together. And you know, this This could be very like abstract. Or, you know, you can contrast things that are a lot a lot more obvious. Um, so just let me go through here. You know, this is like a really obvious one. You know, You got the American flag on the shorts here, and then you got the flag hanging up there. Andi s. Oh, this is this is a good way, you know, toe to parent image. You know, you don't have to do things like that. It can be very obvious like this, or it can be very subtle like that. Um, but that's that's one of the things that, you know, you might want to keep in mind. You know, for example, again here. You know, we got we got details on here. We have the whole structural thing, you know, we got this strong white line and that we got the lines in the umbrella. And you know this kid Young, this is this is a bit more about more abstract on and Cameron over here. You know, this is this is a completely different style. But, you know, there are things that you'll pick up everywhere, and so once again, get inspired. Okay? So in the next step, I'll show you exactly how to sequence them in the best possible way. 5. Sequencing Step 1: Okay. So as you can see, I'm making I made some test friends on these air just printed out, and you can see the difference in quality between, you know, a darkroom print and just want these quick. This is like a later printed print on. Like I said, they don't have to be high quality. But now let's get to sequencing on. This will be really important. I'll be using abusing these. Um, let's eject Prince just to explain exactly how this will work. Um, it's really no too difficult. So again, one of the reasons why you want cheap princes because you're really going to be working with them what you have to do. The first thing is, you should number every single print. Andi, Ideally, you will do this on the back, or you can also do it on the front. But on the back, he'll have more space. So you know will be number one. This will be number two on little go on. For every single photo that you have, you'll numbers for five. Okay, so I've actually numbered all of these for you now, Onda, As you can see, you know, I have let me just flip these around, you know, Number 12 three for and it goes on and on, and I have my entire pile here. So the first thing that you're gonna have to do is so you have number one, and now you're gonna take number one, and you're gonna look at all your other man images. Only the other images that you've you know, pre selected. And you're gonna find out according to whatever you believe in. Whatever you think works with which image number one right here will fit together with on, you know, these could be multiple images. It doesn't only have to be one image, and what you'll do is at the back. You kind of keep a tally and you'll write down to which image number one fits. So from going through all of these images right here. So first of all, maybe Let's just analyze this. You know, this is also again very abstract. This is like underneath a big archway. And, you know, we have some Roman Nomura numerals. We have a bit of sky. We have very kind of like geometric shapes. It's it's very it's it's been more abstract. You know. And if you know, if I compare it to something like this, then you know there's there's a big difference. You know, we got a man back here, and then we got a dog here, and it's it's more of like a, like, a perspective kind of thing, you know? And, you know, I buys you to do you know, things like that, you know, just, like sketch into your your pictures. That really doesn't matter. These are all these are all, like, working prints that you really want. You know, you want to get down and dirty and really get into this because, um, this is how you you'll come up with a good sequence. So, actually, what I found right here is number 26 on day number 26 is a swell one of these with perspective and that kind of like, um, garden. So what I could do is this is what I'll do them. Um, so we're not going to think about this one right now. I got number 26 on D. I think number 26 fits together with number three, and then obviously number three fits together with 26 and this continues now. So these to kind of work together. Um, but when I say work together right now, what I'm just meaning is that they actually they fit together from, like, a, like, a physical kind of appearance. But they're not. It's not already kind of flow that we want to go for, because we we need We need to understand what we want, what we want to achieve. So right here, I'll get into that in a bit. Don't worry. Right here. We have number 21 I feel like that fits with number one, so All right, number one here, you know, fits with 21. Um, but ideally, what you do is you start with number one, and you really work your way through this. So I'm just giving you these quick examples right here just for the means of this lesson. But ideally, you want to start with number one, you know, go through the entire pile and that you want to go to number two, and then with number two, you go again through the entire pile. Um, but at the end of the day, what you come up with is you'll have like like an entire list. So, like, I'm just making up these numbers, you know? So this will fit together with 14. Maybe it'll fit together with 16. It'll fit together with 32. It'll fit together with 33. OK, so these are the all the images got work, and then you put all these together right here, and then you work your way through. And then at the end of the day, you know, you kind of have this overview because then you'll have, like, groups of images that are placed around Andi, that'll work for you. And this is the starting point. So once you once you kind of have these groups arranged, then we'll go to the next step, and that's what I'll show you. 6. Sequencing Step 2: Okay, so I worked my way through some of the images. Now, I didn't do the entire pile, but that's just for demonstration purposes. Um, So what I want to show you right now, it's how I've marked these up some. Now I know I've labeled. Although the images on the back Andi which images fit together. So I came up with this one pile right here. This is one of my first kind of Siri's Andi. What I was looking out for, um, was that first of all, I wanted toe have a kind of play on reflections and shapes now. So what you can see here is that there is there's reflection on the water and you can see, you know, he's going to see the people walking by. You have the same thing here, and then you have one here without people. So you just have the structure of the building. He got another one just with the leaves. And then we have a few more images just with leads. And so that's that's one one concept. The next one right here is we have these things kind of shadows. So we got three men talking here And then we got this really interesting shadow of a statue in the background on DSO. This continues and we have again three people here and we have three people here that we can see. Obviously, I'm ignoring these people right here now. But, you know, this is the narrative that I chose. And that's the nice thing about creating your photo book. You know, it Obviously, it doesn't have to make sense for everyone. If it makes sense for everyone, you're doing a great job. But this is this is your art. And this is your kind of perspective. And if you want to do things in a specific way, that's maybe against Norm than I'm. I'm definitely not an enemy of that. So anyway, so we got these three people here and again, we got the reflection that sorry, the shadow of the statue. And then we got just one frame just of that shadow. And then we got another frame here, which is kind of something that I would kind of see as like a bridge between this Siri's right here because we have the strong shadows as well. But it kind of connects to the, um to the reflections up here in that top Siri's. So that's something we could potentially combine. And then I have this odd image right here, which is just a shadow of a man. And maybe there's a bit of a contrast and something that we could combine with these two. But anyway, so thistle is the first thing. So we have these sorted out, and now the next thing is, it depends how you wanna sequence the the images in your final scene. Because maybe you don't want to, for example, use like all three of these. You know, maybe you just want to use one. Um, if you want to use all three than I always recommend doing the following thing, you always kind of wanna have this this theory of like having a kind of chronological and in order that kind of makes sense. So if you're you know, if what I would not advise you to do is do something like way have this frame right here which seems to be the one which is furthest away. And then we have this frame right here, which is the most detailed shot, and then we have one which kind of takes another Fuze more steps back and we're again zoomed out. You know, if you want to call it like that seemed out, Andi. So these were the things that you need to you need to wash out for. This is something that I would avoid. So, in my opinion, what I would do is I would kind of give this, like, a chronological flow on. And this is obviously on Lee, if you're you know, if you if you need that chronological flow, you know, if there's if there's a different kind of sequence that makes sense for you and that kind of supports your argument or whatever you want toe pursue with your book, then definitely follow that. But in this case, I would definitely go for you know, this is the furthest away we get closer, and then we have a detail, and then it again, obviously where you could do is, you know, you could play with it and you could just have these two shots, for example. And then, you know, you take this one away, and then maybe you want you know, you want to get into the other one, and then these two really work together on, then we have the shots of here, and then maybe, you know, it doesn't It doesn't have to be like a complete flow of, like, always being as as far away from the subject as possible and then going all the way in. You know, it doesn't have to be like a completely gradual decline. You know, you can have, like, ups and down. So we have this reflection right here. And then maybe from this reflection right here, I kind of, you know, I kind of like the way the shadow of the child is here. So and that's how they work together for me, you know, on then maybe this'll is a bit too abstract. Maybe I want, you know, maybe maybe there's too many people, for example, And then I want to get away from the people. And then I could add one of these. But then maybe my conflict is again that, you know, we got a lot of we got a lot of, um, shadows here. We got the shadows of the believes in the branches, and maybe that's just doesn't work for me. But then again, you know you can take this really far and you can be, like, so kind of like her headscarf kind of thing kind of matches the white shadows, the lighter spots right here on. You know, You know, you could really take this anywhere you want, but so this is this is what you're gonna have to work on. And unfortunately, there is no answer. There is no definite Oh, this is exactly the way it's gonna be because you're gonna have to figure this out for yourself. That's why it's so important to have all these prints in front of you and, you know, always play around with him and definitely, you know, don't don't isolate yourself. Ask people. You know, ask your parents, your friends, your family, strangers on the street, whatever it is, get them involved on. And obviously don't ask too many people because you'll get confused, but definitely seek other people's opinion. If you're unsure yourself on that will really help you. And that will really make things easier for you. And you know, you can always write me on instagram and see what I think you know. Send me along some, like dummy shots or whatever Okay, so this is this is once, you know, once you have this sorted out, and once you kind of have, like, a more or less structure where you want to go, then you're gonna have to actually start producing the work on the computer on your whatever program you're using. And that's the next step that I'm going to get into. 7. InDesign Overview: Okay, so now we're I just started in design. Andi. Now, first off, I'm going to say straight away. If you don't have in design, it doesn't matter. You do not need in design toe create your own photo book. You can do this in any word processing document. You could do this in. You know, you could do this in pages. You could do this at Microsoft Word. You can do this in any program that enables you to just insert images and kind of add more pages and maybe add textiles. Well, because I think Texas necessary for most cases. Um, so that's definitely something that you don't have to worry about for this video. I'm just gonna quickly show you how I would do it with in design, because that's the program that I used. Now, I'm not an expert in design. I've only used it for making these kind of photo books, so I don't rely on every single thing and don't Yeah, you know, if you if you need, like, an in depth tutorial of in design than I hope, I'm pretty sure there's more on skill share about that. But like I said, I'm not a pro for in design. I've only used it for these things, so I'm just gonna open quickly. This was a scene that I did last year. It was called Sunday. Andi. So basically, I you know, I was like, you might recognize some of these images thes were from from the selection that I was talking about before Andi. Yeah. Now you can see how I've sequenced. Um, I won't go through the whole thing, but, you know, there are few things that kind of like like, stick out like three, you know? You know, you have these pillars here, and then you have the dress of the lady and, you know, I kind of I really enjoyed that duality here. And then, you know, there's there's a child on the bike and there's obviously a child walking next to the lady . And, you know, these are these are kind of like, like, simple things. But for me, that's something, really. That kind of gives this this entire, this entire process and this entire scene really good flow. Same thing here, you know, we got the lady walking right into the They look like woods, but it's really just a small area in a park on. You know, you have the reflection off the, um of the shadows of the leaves and everything. And this is this is how I selected it and how it works together for me. Yeah. So anyways, um, so one of the first things that you're gonna you're gonna pay attention about Maybe you should kind of think about as well. As you know, maybe if it's gonna be a zine if it's gonna be something that's not just made for the sake of just quickly showing something to someone like a portfolio or so, you know, maybe you want a title on, maybe want to think of a title image on, Maybe you want to think about some text that you're gonna add on. This is another thing that I didn't mention right at the start for the specific reason that not everyone wants text in their in their zines. You know, like I haven't added any text in here. It's just a strict photo seen. So there's just images. Andi, I had I had a short introduction at the beginning, and then, you know, I had one line of text this Sunday in Vienna is a day like no other. And that's that, Um, but, you know, you can You can also think about just really having, like, one page of text and then the next page, just oven image. You know, these are also things that you can do. Like I said, there, there aren't really rules. The only thing is that you're gonna have to find out a way how that would work together properly. You know, I've done that in the past. I've had a scene that I produced where I had It was kind of it wasn't really like a poem, but it was like this, this ongoing kind of poem that went through page to page. So this is always one line. And then you had an image that would kind of fit with that. And, you know, I can I can show you that in a second. If I find it. Yes. So this book right here, you know, this is a completely different kind of layout. ITT's horizontal. It's not vertical. And then yeah, and then eso I started always, you know, there's there's a there's a line of text, you know, like it's in the rush of the hour, the frenzy of the masses in the push of time, that chaos thrives. Yet within chaos there is always order. And then, obviously the images not in high quality. Now what you can do is you can change the quality. Teoh. Let me see where this is. There we go. We want high quality display. And then there we go. That's the better image on DSO. So what I did is it's the rush of the hour, the frenzy of the masses. And there's just a lot of people. This is clearly a rush hour photo in the tube in the in the metro, in Vienna, Um, we get within chaos, there is always order. And then obviously the way I framed this is that I kind of picked out this one person right here, and I really set the focus on just him. And so this is This was kind of what What underlines? This, this order because there is calmness and there is that one person, and there is that there's chaos that's going on around him. So this is one thing, and then, you know, it continues and it goes through on. Yet where there is chaos, there is movement. Where there is movement, there is a path. And then this is very, very obvious that this is the path where that one person is going, you know, and you can you can do something like that as well. So this this was actually the first scene that I made on. Yeah. I mean, so this is with text, and then the other one was without text. And, you know, you could really choose and see. See how you want to do that, you know? 8. Production and Export: so another We looked through this and I've rambled on for long enough. Let's have a look at making a new document. So we're just gonna press on file in the top left hand corner. Andi, open a new document. Now. The important thing is, when you're working within design, it doesn't matter. Yeah, like, it doesn't matter if you're working within design. Where are Microsoft Word or pages or whatever? Because you're gonna be exporting this as a pdf eso At first, all you want to do is just work with the like, you know, you want to create a document on make sure that you are your page sizes correct, Andi, because if you're going to export, it is a pdf. You want to make sure that the page sizes the same. Otherwise, you know, you might have some quality issues if you don't have, like, high quality images or something like that. So I'm just gonna select a five right here, and I can I can ignore the rest. The margins are just here to help me on. I'm just going to keep them at this size. Usually this is standard the standard set up and then obviously orientation if I want to have it in portrait mode or landscape mode. But I'm just going to stick with portrait mode. So just open a document on now we're prompted with with an empty page on. By the way in design works is it's It's very similar to like a normal word processing document. You know, you have, like, your fronts appear on. Then what you want. Do you have a typing tour where you can make, like, a text box on? You're not gonna type into it like like in a normal word processing document. You're always gonna have to make a box, and then you have a few other tools that can help you and you can play around with. So just to begin with, I'll go through just some of the basics. The back of the black line right here is theatrical edge of the page on, then the purple line here, the pink line at the bottom. That's the margin on. Usually when you're printing a book, you're always gonna have to consider that. Make sure, like, you know, you don't want to write something right in the core and right here because that's something that could get cropped out while printing on binding the book together. So always watch out for that. That's why we have a margin right here. And obviously, you can change the size of the margin according to whatever preference you have. And if you know if if you're printing it yourself, for example at home, then you know, maybe you have a lot more playing, it'll be easier for you. And so anyway, um, on the right hand side, over here we have It's like a small info box that tells us how many pages we have right now . Andi, like I said in design, has so many features, and I don't even know all of them. So I'm not an expert within design, but this is always what I've used because it's very straightforward. And I didn't I didn't have to worry about all the other things. So the first thing that I'm going to do is I'm just gonna add a few more pages on. I just right click in the pages section right here. I'm gonna insert some pages and then let's say I'm gonna insert 20 pages on, just press, OK? And as you can see on the right hand side. Here we have a lot more pages. Andi goes all the way to 21. So we inserted 20 pages after the page 21. That's what we have a total of 21. Now, remember that when you're making a book, you're always gonna have tohave on uneven number of pages. So obviously this is not right now because we we need when you're making a book that folds in the middle, you know, if you're if you're like, binding it yourself and you're gonna have toe have even a month of pages Eso right here. I just wanted to, you know, just mentioned that So right here, this is gonna be just my title page right here. Now, Andi, I'll give I'll give you a quick run through of all the things that you know you can add and do so first thing. Maybe we'll, you know, think of a title on dime. Just gonna left click on the type tour right here, and then I'm going to press and drag on and you can see I'm gonna make a box where I can type. And now I can type things in here. So SCO share photos, eating, for example, Andi. And then this just works like a normal word processing document. You know, I can just highlighted on the left top corner. I have all the funds that I could use, You know, Andi solid stick with something. I mean something classic. Andi, I'll just pick. Oh, you see, you can get you could get lost with choosing phones forever anyway, so I'll just go for whatever. I feel like this would work OK on, then. I want to make it with larger, so just increase the size here. And obviously, I couldn't. You know, I can I can make up my own sides if I want to. I want to Yeah, there we go. And then we have a lot these great features up here that can make things easier for us. So obviously there's only a regular version here. Um, and some other phones will have. You know, it's Alec on bold and whatever, so that works as well, you know, maybe make this one okay. And let's just stick with this one right here. So what I want to do is I want to move this around because, as you can see, like I have the text tool, the type tool selected right now. So I want to go back to the selection toe, and then I can select this box right here. And, you know, I can kind of drag on. Did you see that? If I if I close the box too much than the font disappears. So what you want to do is you want make sure that the fit is quite tight, but it's still all visible. And if something is not visible than you'll see, there's like there's like a red dot like a red square right here, that kind of warn you that you're you're cropping something. So I have my sculpture of what was entitled and then Askew can see. As I'm moving this around, I have. Ah, it's like line that kind of snaps in, and that tells me that I actually placed this in the center now, and if I move it to the bottom, then we'll also find this is the perfect center. So this is exactly in the middle right now, and what we can do is maybe we can we can just play around with out and put it wherever we want to. So let's just say this is my first page on. Then I can just scroll down and then I get into my next page. And then, you know, obviously what I want to do is I want to start adding images, and I think of really important things that you're gonna have to do with the program, like in Design is make sure that you keep your images in the same folder on you. Don't move them around because it's going to source the images directly from that folder. So let's add some images. Um, when you do is you go again on file, that's in the top, left hand on you go place. You can also just use the shortcut. Apple de Control de. And so what I'll do is I'll go to my folder where I actually produced my last scene. So here you go. Um, I have my final images for the last scene that I made the Sunday scene, and they're all in this this one folder and then I'm just going to select one images toe just for sake of demonstration and then open it and then you can see I have the image in. It's kind of like moving around wherever I go, and then the moment I click, I can actually scale it on and you can see that there is There's a scale and then you concedes 50% now. So this is my image on, and here it is on what I can do is I can just move it around and put it right here in the center. And then I can continue and you know, at another image. And it goes on and on and on. So a few things that are great within design is like, if you remember, I actually sized this. The dimensions were exactly 50%. So what I can do now is, as I move this around, it will tell me that this image is on the same height. So they if it's in the center right now, here, Andi, there we go. It's in the center. Here is well, perfect. Now, a few things that you need to watch out for is when you're moving an image around, make sure you don't move this because this is what it does is actually crops. The image And you don't want that. If you want to resize the image, which I don't recommend you do because you can get you know, you can play around with dimensions like this, and that can get really dangerous because you can destroy your image in a way that you don't want to. Um you're always gonna have to watch out that you have these, like brown lines. They're selected, Andi, that'll enable you to kind of move the image, actually, like, change the dimension of the image you see now it's not the same size, so I'll just make sure it goes back there again, okay? And so yeah, And now we have these two images and, you know, this is this is basically the magic of it. What you want to do is, you know, it's all about getting creative. So, for example, let's say I don't want a white page with black phoned. Maybe I want a black page with white foam. So what I'll do is I can take a rectangle tool like this right here. Andi, Um, let me have a look. So what I'll do is I'll make a huge rectangle just over this page. I come covering everything and then what I'll do is my Phil is there is no feel now, so what I'll do is I'll just choose a black field. And now obviously everything is gone on and I didn't want to do that. Everything is gone on. That's because this black rectangle is kind of on top of the page, but it's very simple. So what I'll do is I'll select the black rectangle Andi, then when When I right click on it, I can transform it on. I can arrange it and I can do all sorts of things, and if I send it all the way to the back, then you can see we still have this textbook. That's right here. This is where my title is, and it just appears. But obviously we can't read the text because the text boxes on top now. But the text itself is still black, So what I can do is I can select all of this. And then on the left hand here, where my Phyllis I condole click and then I can select a different color. So choose whites and there we go. I have my skill share photos seen Andi. So these, you know, these are just the basics. And like I said, my Sunday Zenit was it was very simple. There wasn't a lot off special effects or anything like that. My commute scene was the same thing on you know, it pretty it just comes down to how you present your work. And I think it's important to have your photography stand out. Like I said, if you if you want a more in depth tutorial about in the sign, I'm sure there's more on skill share and yes, so let's just assume that all of this is finished. So I'm just gonna go to one of these. And, you know, this is what my final copy is gonna look like. This is how I'm happy with it on and what you want to do then at the end, is you want to export this on you want to export it as a pdf. So what I do is go to file again. Basically, this is all I'm using. Um on. Then what we can do is you can export, and then, you know, I don't pdf print, and that's it. And then you have your file. And then what you do is, once I select this, I'll get another kind of like prompted window that will appear and then, you know you have, like usually a printer will tell you if, if you want, like, a very like standard capability compatibility, which is usually 1.4, they'll they'll kind of like a print shop will kind of say, we're gonna need it in this format on things like that. So don't worry about that for now. And then you you know, you can have, like, a pdf preset. You know, you can have a high quality print whitewall pdf Export was, for example, on on online page called Whitewall that I used and they had their own preset that they kind of gave you. And you could use that. And, you know, so you know, it always depends how you printing it. But usually if you're working together with a printer than they will, they will give you. They will advise you on what comes settings to use, and that's it. And then once you export it, you're gonna have to wait a bit on. The program will export the document for you, Onda As you can see, it's still loading because once it's finished you together like you've got a, like a small preview of it and then when that is ready, I'll open it up. Okay, so now it's finished exporting on. I can open it up and it's a Pdf document. As you can see, like this. Um, Now it's ready to send off to the printer, and you can make your own photo seen. So, like I said, I hope this this is a This is a very basic kind of tutorial about in design and how you can kind of structure your scene. But I hope these are a few tips that will help help you produce your own your own photo book on your own photos seen And like I said, if you always have any more questions, you can always contact me directly on my instagram. I'm always available there on you can always ask me anything. Yeah, have fun making your own photos scenes, and if you do make one, please shared on, let me know about it. Andi, be very happy to see what you make of it