Chapter 04LookbookEvery still from the shoot. Click a frame. The loft film sits under the grid.One pastel column. White seating. The cube sits where a coffee table would apologize.Shoot from the seat, not the ceiling. The skyline stays in the background, out of focus.Bar height is the same cube. Two glasses, not a liquor wall.Glass keeps the stack in the shot and the hands out of the way.The sofa is the frame. The cube is the subject. Nothing else on the floor.Period paper on the cube, period bills on top. Do not mix eras in one hero shot.A short stack reads richer than a pile that spills off the edge.Aged full-print hundreds. Wood if the room is night. Lacquer if the room is noon.1980s-series bills. Three stacks, same height, or the eye hunts for the short one.Get close enough to see the paper. Pull back before it becomes a texture shot.One fan, then the bricks. A fan without bricks looks like a magic trick.Closed case, lid just open. The money is implied, not dumped.Open case is a different scene. Do not show both in the same frame.The bag is the exit. Loose bills only, never next to a neat cube.Wrapped bricks read as a delivery, not as decor. Use them in the hallway, not on the sofa.Movie-quality paper up close. If the camera can read it, it has to hold.A mixed series is for the wide table, not the cube. Too many denominations kill the silhouette.Desk scale. One case, one lamp, done.