Still Life Photography: Using books to inspire your setups - The Star Merchant set | DENISE LOVE | Skillshare

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Still Life Photography: Using books to inspire your setups - The Star Merchant set

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.



    • 2.

      Class Project


    • 3.

      Book Inspiration - The Starless Sea


    • 4.

      Props I'm Using In This Setup


    • 5.

      Styling Our Setup


    • 6.

      Lighting and Camera Settings


    • 7.

      Shoot Recap & Editing In Lightroom


    • 8.

      Final Thoughts


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About This Class

Using books to create still life setups has become a new passion. I love the thought of illustrating passages with our photography setups. Just like an illustrator adds some drawings though out the book to invoke your imagination, I want to use photos to do the same thing. I want to be so inspired by a passage that I recreate what I saw in my mind when I read it. Or if I am using a less descriptive book - I want to use a time period to create what I think a scene looks like when you read it. It is taking your storytelling skills to a new level and creating a deeper story behind the stories you build with your photos.

In this class we'll cover:

  • I'm going to introduce you to an idea I had for using books as inspiration for the stories we put together.
  • I'll show you the simple props I came up with and the passage in the book that inspired them.
  • We'll talk about the lighting and your camera settings
  • 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 in Lightroom.

This course is a great class for leveling up your storytelling skills by illustrating a story with your photography setup.

Required Gear: A camera. You can do still life photography with any camera you have. A few props to tell your story, a book or passage that inspired your setup.

Meet Your Teacher

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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

Level: All Levels

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1. Introduction: [MUSIC] Still life photography is my favorite kind of photography and if you've taken several of my classes already, you can tell that I truly enjoy pulling together a story, by a window, here in my studio and really telling the story with the props and the fun elements that I can dream up to pull together. In this workshop, I'm going to take that inspiration from a book, so we're going to be illustrating a passage in a book if you want to say it that way. [LAUGHTER] I'm Denise love and I am a studio photographer based out of Atlanta, Georgia. This idea of pulling together stories from passages that I read in books came about when I was reading The Starless Sea, by Erin Morgenstern. That book is so beautifully descriptive that I could instantly imagine every setting that the characters were in. I thought, what if I could pull that together in a still life here in my studio and actually visually pull that story together. A friend of mine was reading The Starless Sea as I was randomly posting some of the stories that I was creating here in my studio. She's like, wow, that made that story so much more interesting to read, watching you post some of these illustrations for passages that I just read and that really made me excited to continue along in this. Some books are easier to do than others. Some are very descriptive and you can immediately imagine the props and the setup that you wanted to create. Some are a little more obscure and maybe there's less information and the character dialogue is what's driving that story. But this book that I'm using today, it's very descriptive, very exact, in the items that you could then search out and pull together. That's what I'm going to show you that I've done today, we're going to illustrate a passage, I'm going to show you the props that I've come up with, talk about the settings that I create and then edit some in Lightroom so you can see what we've got when I'm done. I hope after you watch this class, you'll be inspired to then be inspired by some of the things that you're reading and say, now I can truly come up with a setup that has a story behind it and let's see what I can create, so I'm pretty excited to share this with you. I can't wait to see what you come up with, so let's get started. [MUSIC] 2. Class Project: Your class project is to pick a passage, whether it'd be the one that I'm demonstrating here in class or a passage from your favorite book that you want to illustrate. Pick a passage and come back and share with me two photos that you've come up with from your still-life setup. Two photos any way you want to do it, you can do a pullback or a detail, you can do two pullbacks. I want you to come back, tell me the book that you have decided to illustrate. Maybe pick a passage out of the book that inspired you, and then come back and share two photos of that setup. All right, see you in class. 3. Book Inspiration - The Starless Sea: Let's talk about the inspiration for the setup that I'm going to do today. It was inspired by a passage here in the Starless Sea by Erin Morgenstern. I love this book. It's my favorite book to pull passages from, it's very descriptive. I can really picture exactly in my mind the scene that's being described and how I can relate that to a still life here in my house. The other book that she's written is the Night Circus. It's another one that I have taken great inspiration from. Man, I hope this lady writes another book because they have been my very favorite for still-life inspiration here in my studio. The passage that I'm inspired by today. This is on about page 133 here in the book. It is a story about a star merchant. It says, "Once there was a merchant who traveled far and wide selling stars, this merchant sold all manner of stars, fallen stars and lost all the stars and vials of Stardust." I've got some of that ready. [LAUGHTER] "Delicate pieces of stars strung on fine chains to be worn around necks and spectacular specimens to fit, to display under glass. Fragments of stars were procured to be given as gifts for lovers. Stardust was purchased to sprinkle at sacred sites or to bake in the cakes for spells. The stars in the star merchants inventory were carried from place to place in a large sac. The pieces, everyone wants the stars, everyone wishes to grasp that which is out of reach to hold the extraordinary in their hands and keep the remarkable in their pockets." The star merchant has a bag of stars, and he's got whole stars and stars on chains and star pieces and stardust. That immediately made me think, I need a star setup. [LAUGHTER] I had been reading this book somewhere around the Christmas holidays or at least sometime when all of the decorations were out in stores. Really, it could have been October [LAUGHTER] since the Christmas stuff gets out earlier and earlier it seems. I happened upon just some Star Garland. If you're out looking and you're like, I simply cannot find Star Garland, it's not a big deal. These are pieces of cardboard covered in glitter. You could definitely get creative and cut some cardboard and get the glitter out and the glue out and make your own version of the stars. I am going to use the Star Garland and some biles of glitter to represent stardust. I'm going to take some photos here at my table. This type of setup is a little simpler because our main focus could be the stars. I could leave anything set up around my table and just take pictures of the stars and the stardust, which is my plan. I was inspired by this passage. Let's see what we can come up with. [MUSIC] 4. Props I'm Using In This Setup: [MUSIC] Let's just take a look at the props that I have pulled together for our Starless Sea star merchant setup. In the passage that I was reading, the star merchant is sitting in a little lounge area talking to a fellow traveler and so in my mind I thought, I could have a little setup like there's maybe a bookcase beside them, more on my table. I'm just going to use the crate that I like to shoot in as my full bookcase and I've got some old books lined up and a little piece of architectural element there. Those pieces aren't really the focus of this setup, so it's not really important what I have in there, but I could make it important and it could be part of the focus, it could be some of the photos that I'm taking, they could be very important. But it's a backdrop for other sets that I've done and I can use it for this too, so why take it down? I do like when I have an idea, especially for a background prop and then as I'm thinking of other ideas I can think, oh, I can leave that there and continue on with my next set of photos. This piece is going to be that, I had it on the table already for some other things I've done. What I'm going to do is I have put some little thumb tacks in the top of the crate so I can string the garland. I have some star garland, this is just star strung on wire and if you can't find a star garland, because the wrong time of year or whatever, this is the kind of thing you find it Christmas, that's okay, these are just cardboard stars, so you could use some card stock and glitter and make your own stars and you could string it on a little bit of twine and make your own star garland and cut some of them in half to be star pieces and cover them with glitter and then we've got our pieces and our garland, which I'm going to be having for these sets of photos. Then I got a container of gold glitter, which after I got it I realized that the gold glitter and the silver stars weren't quite the same, I should have got silver [LAUGHTER] glitter, but the silver glitter had been out of stock and I was in the mood to shoot photos with glitter and the gold was fine. This is going to be my star dust and I got some of these wonderfully beautiful little vials off of Amazon. These are just little glass vials, this is the five milliliter size. There's a ten milliliter size, it's about double the height, but I like this size, so some little glass bottles, you could probably find these at the craft store also if you were looking for something like that. If not, I got a little set of them off Amazon and they were not very expensive. I'm going to have them maybe positioned on the table, maybe one of them open, maybe some glitter out on the table. The basics of stuff that I needed to have with stars and glitter. The other parts of it is probably going to be in blur or just be background elements to enhance my story. [MUSIC] 5. Styling Our Setup: [MUSIC] All right, so let's go ahead and do our little prop styling. I've already got my little bookcase here. I've got a couple of little thumbtacks just sitting in the top of my crate. I just lightly push them in and I'm going to simply run the garland up and down my little tacks. That way I can take some photos of the hanging stars and then some photos of the stars on the table. This garland is wide enough for me to do that like that. Then I can cut some of these stars up here. I'm going to have a couple of stars on the table itself. We can just do that with some regular kitchen scissors. I'll probably just cut a few of these off of the end and cut them in half and let them be star pieces. Then I'm also going to have out here on the table vowels of glitter, maybe one that's opened. I have a little extra glitter here. Can only tell you when you do this. Glitter gets everywhere [LAUGHTER]. Then take some photos of the glitter, the pieces, the garland. If you've got other architectural pieces that you've collected, you could include those bits say just pieces of the building and the area that you're in just to imply place or time or theme or anything like that. I think I do like this piece too, I could take a picture of maybe some stars hanging on it. It's another architectural, it's the capital of a column, I think. Fun little piece there. That's basically my setup that I'm going to be shooting today. I'm going to shoot some photos of the stars towards the books. Then I'm going to shoot some of the glitter and maybe sprinkle several more cut pieces around. Take pictures of those, and just see what I can come up with. 6. Lighting and Camera Settings: [MUSIC] I'll pull back a little bit. Let's talk about the lighting. I'm set up in my studio by my east-facing window. If you've taken some of the other still life classes that I've done, you'll know that an east-facing window you have the sun shining into the window in the morning. That's the side of the house that the sun is rising on. Then as the day goes on, the sun gets to the top of the building and starts to get to the other side of the building after lunchtime. Then on that side of the house, we have west-facing windows, and those would be great windows to be shooting at in the afternoon. Then if you've got a north-south window or you really don't have direct sunlight shining in the window at any time of the day, that should be good diffused lighting all day long, so you just need to try to shoot in those windows just at different times of the day and then see what times of the day you prefer to shoot in. A lot of times when I'm doing sets or a workshop or things like that, I like to work in the morning. I get up, I take care of the puppies, I eat breakfast, and then maybe I get up to here to my studio at nine o'clock when the sun is really shining right in that window. [LAUGHTER] Then I need to diffuse the light because I don't want really harsh sun on my set. I want pretty diffused lighting. In the window, I always have this round photography diffuser. It's the center portion of your reflector. You just take the outside cover of the reflector off, and that center portion is that pretty round, translucent white fabric on it that diffuses the light and makes it beautifully perfect. But you'll notice today that I've got that diffuser sitting on the floor and a little bit out of the way. It's not completely in the window blocking the light. We still have pretty diffused light and that's because I'm up here in my studio after lunch. It's about one o'clock. It's going to be too dark to photograph if I stay up here too long, but I could stay up here for a while and shoot this. Because the sun is now on top of the building. It's no longer shining directly in that window and I can take the diffusers out the window and just use as much light coming in the window as I can get. That's what we're going to do today, is shoot in the diffused light with the sun on top of the building instead of coming in the building. We'll just see what we can get. You just have to judge what time of the day is best? When do you get enough light? Do you need to diffuse that light? If you're in a window that you don't normally shoot in at a certain time of day, are you going to have enough light to handhold if you're trying to handhold? Can you get that aperture and shutter speed and ISO at a setting that you can be happy with? Or do you need to set up on tripod because the lower the light gets in the room, the more likely I'm to have to set up on a tripod because I normally like to shoot on an F4, so I like a lot of blur and I figure that out by taking a set of aperture photos. I took a photo at F2.8, F3.5, F4, F4.5, F5, F5.5 because the lens that I like to shoot on has all those aperture choices. Then I looked at them on the computer and I'm like, okay, I love F4 for most of the stuff I'm doing here on a still-life table setup. If you're doing macro, that might have to be an F8 to give you the same number of blur because macro photography, the planes of focus are a lot closer together. In still life tabletop setup, maybe the planes of focus are a little bit far away so I can shoot on F4. When I talk about shooting and liking to shoot wide-open, that doesn't necessarily mean that I'm shooting at the widest open my aperture will go because say, on my Lensbaby Velvet lens that I like to shoot on my camera, the widest it'll go is a 2.8. But with that lens, at 2.8, you don't have enough in focus and it's really glowy. That lens makes an odd glow to the photo, which is a purposeful effect of that lens. But I love the Velvet because it gives a really pretty velvety look to the whole photo and the blur is real pretty, almost as if you were in Photoshop and you had put a real soft Gaussian blur on top of your photo and you just got that almost just that dreamy look to it. Well, the Velvet creates that look coming out of the lens and I love being as creative as I possibly can coming out of the lens. [LAUGHTER] I know that F4 gives me that pretty creaminess. If I go up to F8 or F11, it's more like a standard lens. I know when I'm shooting my camera settings need to be at F4 for the amount of blur that I like. Then the ISO, which is how sensitive the camera sensor is, needs to be at 100, 200, or 400 because I don't want to add a lot of extra grain, and the higher you go with the ISO, the more grain you get unless you have a camera that's a little higher up on your camera line that is made to be able to push that ISO for low-light settings and not give you lots of grain. That's a real advantage to pro cameras versus consumer-grade cameras, is they have that better low-light capability. If I know the setting of 2, the ISO, say 400 is what I'm going to use today, and then I know that I'm going to be shooting in F4, then I just need to decide how much shutter speed to get the proper exposure, how faster the shutter need to go to let enough light in so that it's properly exposed. It's not blown out and overexposed, it's not real dark and underexposed. Because when you shoot overexposed and underexposed because you haven't figured out exposure like I did early on and you think I can fix this in Photoshop or I can pull those details back, sometimes you can't pull those details back. Those details aren't there. When you take that picture, you might not get those details back. Even though you can adjust exposure in Photoshop, and I always slightly adjust exposure even though I'm shooting for correct exposure, if you have it too dark or too light, you just lost that information. It's just no longer in the pixels. It's either black pixels or white pixels and there's no coming back from that. The goal for me is to get the most creative, the best composition, the good exposure as much as I can do up front so when I get to Photoshop I'm just tweaking a little bit. You can watch me do a whole edit in just a couple of minutes and get the most beautiful photo. I'm not wanting to spend hours on the computer trying to fix things I did or make it better, figure out the composition and cropping out half of my pixels. I'm just not that computer sitting person. I want to get all the fun done on the front end and then take 1,000 photos that are amazing and then go to editing and be like boop, boop, and we're done. I don't want to spend all day on the computer. That's just not my thing anymore. If you're not used to shooting on your camera on manual mode, then figure out what aperture you like, how much blur do you want. If you don't want any blur, then start at F8. If you want a good amount of blur, F4 may be a good choice, or F2.8, or F2.5. Just figure out how much blur do you need, how much in-focus do you need your subject to be. Because I do like my subject to be in focus and the blur around and pretty blur in the background. That's how I decided about F4 was what I liked. Put it on AV mode on your camera aperture mode and set your aperture at F4 and then you can let your camera figure out the other settings for you. The only thing I don't like about letting the camera figure it out for me is then it's likely to push the ISO higher than I intended. But early on, start in aperture mode and then advance towards manual when you know what settings that you feel need to be set in stone and then the only setting that is variable is the shutter speed. If you're shooting at least 1/60 of a second or faster, preferably more than 1/100 of a second, you could probably handhold and get a tack-sharp subject. But if you're slower than 1/60 of a second because it's low light and you just can't get more light in, then you need to set up on a tripod and let the shutter be slower. Because if you're shooting at, say, 1/50 of a second, 1/40 of a second, there's just no way that you're going to get a tack-sharp subject. The camera moves slightly and the shutter is not going fast enough to compensate for that extra little camera shake that you got going on and your photo is going to be blurry and not in a good way. That's not something you can fix in Photoshop. [LAUGHTER] We're set up here in the afternoon just because I wanted to get a little different light setup for today. Then if I don't have enough light and I'm shooting long enough, I will be compensating the light with my photography ring light. I have a ring light and it's lighting our set right now so we can see it. But I like the 18-inch LED ring light with a flexible head because then I can get that light right where I want it. I like to supplement the daylight. I don't like to just shoot with studio lights in a dark corner of my room because the studio light, even though it's a daylight color, it's not as all infusing as the daylight is, and I feel it's very directional and it's very cut and dry where the light is, where the light's not and I just don't love it. But there are occasions where you need extra light. This is the way I have decided to supplement that light. I like this one with the bendy head because I can then bend it into my set right in front of the window and it doesn't take up nearly as much room as a photography softbox. I have softbox lights also because I'm the kind of person where I had to try them all before I figured out, okay, this is the one that works for me. [LAUGHTER] The softboxes take up a couple of feet. They're huge. When they're set up here in my little tiny studio they're in the way everywhere I go. I either need to put them together every time I want to use them and take them down when I'm not using them or this room is just not usable with the two of them set up. I figured out that the ring lights work for everything. I can light video. I can light myself when I'm talking on video. I can light my art table when I'm making art. I can light my art table when I'm filming art workshops. I can supplement the light from my photography setups and I can put the ring light right there in front of the window. It's so thin. It's only 2 inches or so thick that I can leave my setup right where it is, and then I can fully adjust the light to where I need the extra lighting. The reason why I like the LED over the fluorescent, and really it doesn't matter what kind you buy, but I'm going to tell you why I prefer the LED. Because I had a fluorescent ring light and it had a fluorescent bulb in it and I was moving around the room and I knocked it over and it hit the floor and the bulb busted. The LEDs don't have a bulb like that. It's a flat piece of metal [NOISE] with little tiny lights that are attached to the metal. If I knock that over, I'm not breaking my whole light bulb that is then, if you can find them they're over $100 a bulb, the one or two places that I had found a price for it, and they didn't have stock. I'm like, it's 100 bucks and it's not even in stock, so I might not be able to replace it. I got this whole setup, the whole thing with the bendy head was only $100. I'm like, well, I guess I'm getting the LED one. I have two of those now. The LED and the fluorescent put out the same color of light. But I just prefer this one because if I knock it over, I don't break the bulb. [LAUGHTER] Get whatever you can find. If you don't get the bendy head, it's not a big deal. It just means the light sits straight up instead of being able to bend where you need it, but it's still very handy. That's how I'm going to supplement the light today. The fluorescent one does not fully dim, whereas this one goes from fully dim to fully bright, so it is much more versatile with the deamability of the LED. I love that one. Now we've got our setup, we've talked about our lighting, I'm going to start shooting some photos here before I'm just completely out of light because the sun is dipping down on the backside of this house today and we'll just see what I get. [MUSIC] 7. Shoot Recap & Editing In Lightroom: I was very inspired by the glitter and the stars and I just moved around this set. There's that little architectural piece I was showing you. I just moved around the set and took different photos to see in the end which ones were my favorite. I'll show you some of the favorite, but I'm just shooting through some of the photos to show you just what I was thinking of and what I ended up taking. Then I'm not sure that I love the wire that these were on. But I still love all the photos, so I almost don't care. Some of these are really fun and at least the wire allowed me to move stuff around and reposition stuff so that there weren't stars behind stars getting lost and things. I do love this garland and it's definitely a theme that I'll revisit some more because I love it. I'm glad I have the garland so that I can revisit for things like this little mini workshop. Because I've shot these a couple of times now for different things I've had in my mind. But the stars and the glitter is one of my favorite and yes, there is now glitter all over my house and me and my hands and I don't even hate it. Funny stuff. Let's just take a look now that I've just scrolled through and giving you an idea of some of the photos that I took and I was focusing on the stars, the details, the glitter and then let's just hit these that I've flagged. Some of these are edited. I played around with them, but I liked when the stars were in a direction and something was in focus and we had to look around to see the details and this is why I like the books in the background. Look how pretty those are just sitting back there. I liked the glitter and the stars on the table. That was one of my favorite and just as I was taking portrait orientation and I was taking landscape orientation, and I was just trying to get as many glitter ideas as I might have been thinking about, as many star ideas as I could and then come back and edit a few and see what's going to end up being our favorite. Let me edit this one. This one's not edited. I was playing around with some of these others because I just loved them so much. I'm going to tweak the exposure and let's just see what the Auto button says. The Auto button is too bright for me. We'll pull that back down. I'm going to leave some of these other settings where they're at and just tweak them. Then I'll continue to go on down. I'm going to put some points down in our point curve and start playing with that because that's how I add extra contrast, extra moodiness. It's how I make them look a little more film-like when I pull that dark point up. But if you don't like that matte look don't pull that point up. Sometimes I'll pull the light point down, up here and that just adds to the overall vintagy film look that I'm going for. Or maybe I just like the matte look. I just do, I just love it. Sometimes I'll come over here and pull in a little bit of blue and my shadows with my color grading. I'm not really feeling that today, so I'll put that back on at zero. Then I'm definitely going to sharpen. I'm going to take my little piece here and just see what is Sharpen here that I can judge this by and I'll up the sharpening and then hold down my Option Alt key so that I can then mask the sharpen and you can decide how much of that detail that you want. You can change the radius and I'm holding down the masked key so I can see those details. You can see it in that light gray there. Some of that is just your own judgment and what it is that you're wanting for your sharpening. But for the basic, what I do is I'll just up the sharpening and I will mask just the details that I want sharpened because I don't want to sharpen every pixel in the picture. That really adds a lot of grain to your photo and I'm just not interested in adding all that extra grain. I'm going to come down and add some vignetting. I like the midpoint to be large. I like it to be fairly round and I like it to be feathered so that it's not a sharp, harsh vignette. I'll push that up pretty high until I get it where I want. Then I will go back up and start adjusting my exposure a little bit more and the other elements here in that top box, I like to get a starting point and then come back and start tweaking stuff. Then if I absolutely love what I've done, I will save that as a preset, and I will call it Denise's preset, so let's create a preset here, and we'll call this one Denise Favorites 4 and I'm putting it into the Denise Favorites folder that I created and if you create your own preset or you're creating any to sell, or you just want them to be really versatile for yourself to use these on other photos, then the things that I have checked in blue are the things that I save. I don't save white balance. I don't save the auto settings, I don't save the exposure and now these presets are going to be very versatile, more versatile towards your type of photography than if I saved things like exposure. Because if you save exposure and your photo is underexposed, applying the preset is going to reset the exposure that maybe you've already adjusted and fixed and it's going to look terrible until you go back and fix the exposure again. Or is if you leave that setting unchecked, you can fix the exposure to where you want it, apply the preset or scroll through your presets and it won't reset that setting for you. Take note of those. This is the settings that I like to have a more versatile preset that I've created and then you'll see that's fallen right down here into my favorites, that's number 4 and you can see I've created some others and as I go through them, now, I have a starting place of completely different presets for other photos that I've edited that I can scroll through and I love having presets because it's a nice starting point. Like, how did I get this color on this one? I don't know. It's a little bit richer. The curve is a little bit different. Now I can go through and tweak this preset to make it perfect for this photo. Or that one-click might've been perfect. Or I can go back to what I just created with less contrast and then that one might have been perfect. I do love saving the edits that I'll do on photos and you can call them your favorites or however you want to do that. Then you have your own custom set of presets to then play in. I love doing that. All right, so I hope you really enjoy this type of setup. Illustrating a passage from a book or playing in something as whimsical and fun that I've created here with the glitter and the stars. If you don't want to come up with your own set, do a glitter star layout. I mean, who doesn't love glitter and stars? I can't wait to see what you create and I'll see you back in class. 8. Final Thoughts: [MUSIC] What do you think? I hope that you are as inspired by this concept as I was when it came to me like a lightning flash. You see different illustrations in book as little drawings and things that maybe an illustrator has illustrated passages out of books that lean themselves to the story and help your imagination along. I thought, why can't we do this with photography? If we're doing a book that's not as descriptive, maybe we can pull from the time period that we know the book was set in and fill in some of the missing details, or if we pick a really descriptive book, we can take exact passages and say, here's the passage that inspired this set. Then we truly have a deeper story behind the story that we've created. We've created some conversational points for people that didn't look at that and say, wow, yes, I see it and talk to us about. I hope this concept really excites you. I'm all about telling stories with my photos, creating stories with my still life. This just takes that concept one step forward and creating a story off of something that we've read. An existing story that's out there that we can now talk about and illustrate in our photography. I'm really excited to start reading books now and then be like, oh, I love this passage. Let me underline it. Let me make a note about it. I want to come back to this. It really gave me a vision of something I could photograph. It just upped my level beyond creating random still lives, coming up with random stories behind the still lives, or coming up with a story and then pulling all my props together to make that story. Took that whole concept one step forward. Now I have the story, what can I do to illustrate these passages in the story? It really made still life exciting for me again. I hope you enjoyed watching how that I do this and then going forward keep in mind the different things that you read. Did it inspire you? If it did, make a note of it and then come back and do a still life setup about it. I can't wait to see what you've created. Definitely go back to the class project and say, okay, two photos. Here's what I created. Here's what inspired me. Can't wait to see what you create. [MUSIC]