Still Life Photography: Shooting A Ballet Story In My Tiny Studio | DENISE LOVE | Skillshare
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Still Life Photography: Shooting A Ballet Story In My Tiny Studio

teacher avatar DENISE LOVE, Artist & Photographer

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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.

      Introduction

      1:48

    • 2.

      Class project

      0:37

    • 3.

      Shooting in a box and props

      8:56

    • 4.

      Styling our setup

      2:24

    • 5.

      Lighting and using a black card

      6:55

    • 6.

      Camera Settings

      7:08

    • 7.

      Shoot Recap & Editing in Lightroom

      10:26

    • 8.

      Final thoughts

      0:46

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About This Class

When I was a little girl I wanted to be a ballerina... and this setup was inspired by those wonderful memories I made in dance class. Still life photography is my favorite type of photography. You can set up a space in your own home without the need for a huge studio. We can get creative with our sets and props. And the best part is we can shoot any day all year long no matter the weather outside. I enjoy coming up with creative sets and I can't wait to share with you today's setup.

In this class we'll cover:

  • I'll show you one my favorite photography tricks - shooting in a box
  • We'll talk about my props and what you might look for to do your own dance setup
  • Styling your set up near a window for natural light
  • How I take away more of the light when I want to make it dark and moody on one side
  • I'll style the setup and talk about a few photos I might end up taking
  • We'll also look at my final photos from this setup and do some editing.

This course is perfect for beginners getting started and needing ideas. It's also great for experienced photographers wanting ideas and tips for doing studio setups.

Required Gear: A camera. You can do still life photography with any camera you have. A few props to tell your story, and a box - whether it be one like I'm using (a vintage crate) or a shipping box, doesn't matter which. 

Meet Your Teacher

Teacher Profile Image

DENISE LOVE

Artist & Photographer

Top Teacher

Hello, my friend!

I'm Denise, and I'm a mixed-media artist, photographer, and creator of digital resources and creative workshops.

I have always been passionate about art and the creative process, and have spent my career exploring various mediums and techniques. Whether I am working with paint, pencils, or pixels, I am constantly seeking to push the boundaries of what is possible and find new ways to express myself.

In addition to creating my own artwork, I also love sharing my skills and knowledge with others through workshops and classes. I believe creativity is a vital part of life, and I'm dedicated to helping others discover and cultivate their own artistic abilities.

I'm so glad to have you here on my Art channel.

Looking forward to... See full profile

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Transcripts

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