Drawing with Light: Creative Techniques for Spectacular Photographs | Warren Marshall | Skillshare

Playback Speed

  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x

Drawing with Light: Creative Techniques for Spectacular Photographs

teacher avatar Warren Marshall, Passionate Photographer

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

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

13 Lessons (47m)
    • 1. Introduction to Light Drawing Photography

    • 2. Choosing The Best Location

    • 3. Best Camera Settings

    • 4. All You Need Is

    • 5. Light Drawing Tools

    • 6. About Our Photo Shoot

    • 7. Live Shoot with Fairy Lights

    • 8. Live Shoot with Milk Bottle

    • 9. Live Shoot with Light Sticks 2

    • 10. Live Shoot with Water Bottle and Sparklers

    • 11. Live Shoot with More Sparks

    • 12. Your Project

    • 13. Conclusion

  • --
  • Beginner level
  • Intermediate level
  • Advanced level
  • All levels
  • Beg/Int level
  • Int/Adv level

Community Generated

The level is determined by a majority opinion of students who have reviewed this class. The teacher's recommendation is shown until at least 5 student responses are collected.





About This Class

Shooting after sunset gives us many creative opportunities that are not possible during the day.

Long shutter speeds, various coloured light sources and darker skies make it easier to create images with a difference. One style that can be very spectacular is called “Light Drawing”.


Necessary equipment:

Solid tripod

Camera capable of long shutter speeds. (or Phone)

Light drawing wands (anything you can think of)

Led torch



Optional equipment:

A remote shutter release

Off camera lighting gear (flash, torch, car headlights etc )

Assistant (to make things easier)

Dark clothing is advised so as not to be visible in the image.

Choose a dark location so that the ambient light will not affect the image.

Wait until it is dark enough so that your background doesn’t show or just shows slightly if that is what you want.



Aperture:   When experimenting with a new technique use f8 so it’s easy to remember next time.

Shutter speed:   Use whatever speed that suits the purpose to give you an accurate exposure.

Night photography is very forgiving of exposure error. The difference between 5 seconds and 20 seconds is often not noticeable.

We need to be careful that the ambient light is not affecting the sharpness of our model’s image.

ISO: Because we are using a tripod and the shutter speeds are long anyway....we may as well use 100iso for best quality.

White Balance: The colours of our flash and led’s will record better with a “Flash” or “Daylight” white balance but “Auto” white balance should also be ok.



Metering:   Your camera’s light meter is not very effective when metering night scenes. Check your image on the screen and consult your histogram. You will have some burned out highlights ( street lights etc ) Don’t worry ....this can’t be helped. Just make sure that most of your brighter areas are exposed correctly. Many of the darker areas will disappear out of sight. Again don’t worry, this will simplify your composition and the shadow areas may be brought back in Photoshop if you like.

Use manual focus or back button focus and switch off any image stabilisers.

Light drawing with a model

We will use flash to light our model so she is well exposed and sharp in the image. Our flash will fire at the beginning of our 10 second shutter opening then we can draw with light for the remainder of the exposure.

Extending our shutter speed to 20 seconds allows more time for light painting without affecting our exposure on the model.

Light drawing tools

Move the light tools around during the exposure. Vary the style of movement to get different effects. You can also vary the speed of movement to change the exposure of the light drawing tools.

Meet Your Teacher

Teacher Profile Image

Warren Marshall

Passionate Photographer


Hello, I'm Warren Marshall.

I am owner and head photographer at “Imagine Studios “ in Newcastle, Australia.

I am also owner and principal of “Newcastle Photography College”.


I have been a photographer for the past 40 years and a full-time professional photographer for the past 26 years.

I am passionate about image making. I also have a thirst for learning new techniques and love experimenting with my photography.

Our studio specialises in people photography from Weddings, Portraits, Headshots, Glamour, Lifestyle, etc.



In my time I have photographed many celebrities, politicians and entertainers but it is the average people that I enjoy working with the most.

See full profile

Class Ratings

Expectations Met?
  • Exceeded!
  • Yes
  • Somewhat
  • Not really
Reviews Archive

In October 2018, we updated our review system to improve the way we collect feedback. Below are the reviews written before that update.

Why Join Skillshare?

Take award-winning Skillshare Original Classes

Each class has short lessons, hands-on projects

Your membership supports Skillshare teachers

Learn From Anywhere

Take classes on the go with the Skillshare app. Stream or download to watch on the plane, the subway, or wherever you learn best.


1. Introduction to Light Drawing Photography: Good day. My name is Warren Marshall. I'm a professional photographer from New Castle, Australia. Those of you who know me will know that I love shooting at night. The reason why I love shooting at night is because it opens up so many more possibilities to us. The long exposures that we use at night allow us to do lots of really cool things within that time period rather than the instant that we might be shooting on during the daytime. One of the techniques that I love to do is like drawing. Now, why drawing all like painting, depending on your point of view, is a technique where we shoot with moving LED lights. Mostly LEDs, we can use other types of light sources as well. But LEDs give us the scope for so much more color and pattern and effects in our photographs. Now I've been doing this technique for about 20 years or so. Some of the tools that I use a quite old, but they still work amazingly well. The reason why I love doing this technique is because it just adds a bit more color. It adds a lot of interests to your shots. It'll Azure shots to stand out so much more above all of the other stuff that's out there. And I love doing that. I love having impact in my images. Now, in this class we're going to teach you all about drawing with light. I'm going to show you the tools that I use, explain how I used them. You're going to see a live video of a shoot that we did at Newcastle bards using a lot of these techniques. Well done. And you're gonna see a lot of my life drawing photographs that I've taken over the last 20 or 30 years. So you're going to learn the techniques. I'm gonna give you a camera settings. I'm going to give you and ideas of locations that you can use. Particular styles have shot that you can do. I love shooting people. So there are people in most of my shots. But you can do this technique in any way you want. You can do it just in the landscape. You can do it on a small scale with very tiny products photography. Or you can do it in any number of ways. The possibilities are endless. And as they say, your imagination is the only determining factor. So, have a look at this class. I'm sure you're going to love it. The image is fantastic and you'll learn how to do like drawing. 2. Choosing The Best Location: Now the concept of light drawing is a little bit different to light painting. I do a lot of light painting as well. And I use those two different words, painting and drawing to differentiate between the two techniques because they are totally different techniques. Like painting is done at night as well. In darker conditions using longer shutter speeds. But with light painting, I'm actually using a torch or a flashlight to paint the light on the scene. I'm actually creating the light on my subject with the torch or the flashlight with like drawing. My subject is generally liquid flash because as I said, I shoot mostly people. So the flesh allows me to get that still sharp image of my person. And then I'm using light drawing techniques to paint some light in the background and around my subject just to make it look a little bit different. So the techniques are different, but they're done in similar sort of ways. Now, the first thing you need to think about when you're shooting light drawing, all like painting is your location. You need a location that's relatively dark. If you do have any ambient light around, it can get in the way of your image. Now, mostly because I should people, I want to keep those people very still and sharp in my photograph. If I'm shooting for 10 seconds, 20 seconds, or 30 seconds, It's very difficult for people to stand still for that time. So if there's any ambient light around that is actually lighting them during that time, I'm going to get some ghosting in my image similar to the image that you can see here. Because dislocation has a little bit too much ambient light. If I move to a location that has less ambient light, that is much darker, I can use that flash exposure on my subject and my subjects not going to show any residual movement in the shot. So it's going to be a much cleaner, easier shot. So think about the location you're shooting in to start with. Now obviously the location needs to be safe, especially because you're working at night. You need to make sure that everything safe, that you are not going to trip over, things, that things are in place for you to be able to change your camera settings and to be able to do the work that you need to do. I use a few assistance when I go out and do these shoots because I've got lots of students who are keen to come out and help me out with a shoots. And because I'm a little bit disabled, I can't get around and do the stuff that I used to be able to do. But it is possible to do all this stuff on your own. You can use a shutter release on your camera to fire it. Or you could use your self timer to be able to fly your cameras so that you can get in position and do the light drawing yourself. And you don't need anybody else in the shot. So it's up to you. What if you do? It's always fun to go out with some other people. And you'll see we have quite a bit of fun on the shoots that we do. But it's up to you whether you want to do it yourself or have other people along to help you out. 3. Best Camera Settings: Now with regard to camera settings, shooting at night, as you may know, is a little bit different. A shooting through the daytime because you're facilities on your camera don't work quite as well at night. Your focus can be inaccurate at night. Your exposure meter definitely is not going to work particularly well at night. And your other sittings need to be a little bit more tweet because we're shooting in the darkness. So I generally shoot on manual settings when I'm shooting at night, manual exposure. And you could use manual focus, I tend to use Back button focus, which I'll explain to you in another class. But either manual focus or back button focus is a better option. Autofocus is going to be confused by the darkness in your image. So you're going to get a lot of blurred results. The other thing you need to think about is your image stabilizer. Because you're going to have light sources moving within your photograph. Your image stabilizer can try to follow them. So turn your image stabilization off when you're doing any of these sort of shots. Now the first camera setting that I usually think of and determine is my shutter speed. Because my shutter speed is going to give me the time that enables me to do the light painting that I need to do. Generally anywhere between five and 20 seconds is a good option. I went for ten seconds in the shots that we did in the video at the end of this class. But whatever time it needs to take that light painting from one side of the frame to the other, is the shutter speed that you would use. With our ISO, we may as well use the lowest toys so that they are camera's capable of. So either 100 or 200 will be fine because we're shooting at night with long exposures are ISO doesn't really need to be too high. And then we determine our exposure by our aperture. So just change your aperture up or down to get the exposure that you need. Now because I'm shooting with flash to light my subject. I need to control my flesh a little bit up or down two to get the light on my person working well. So there's just a little bit of an extra option that I have to look at. But basically, once you've set your camera settings, you can just shoot all night on those same settings. It's not going to vary very much because we're shooting after dark, the light's not going to be changing. So those same settings are going to work for multiple situations. The white balance that I choose to use is generally a flash or a daylight white balance, because that tends to give my LEDs better color. If I used auto white balance as I do with a lot of the work that I do, my auto white balance is probably going to change depending on the color of light that I'm using with my LEDs and with my light drawing. So it gives me inconsistent results. So prefer to nail my white balance at a flash or daylight setting because that's going to match my flashlight. My subject's going to have the right white balance and my LEDs are going to look more colorful because of that. Now we're shooting at night, so our background is probably going to be completely black. We're using bright LED lights. So the difference between our bright areas and dark areas is fairly great. So our dynamic range that we are trying to capture in this image is fairly great. Your cameras just not going to be capable of getting detail in the background which is black. And you're really days which are bright. So err on the side of the whites, err on the side of the highlights. Make sure that your LEDs and not blown out too bright and just let your background disappear into darkness. The background is less of an issue when we're shooting. They sort of shots mostly, but we don't want to burn out the colors in LEDs. So check your histogram and check your highlight alert just to make sure that those highlights aren't burned out and you've got good color in those LED lights. 4. All You Need Is: Now the equipment that you need to do light drawing is not extensive. You can get away with just using a camera. Having a tripod is a handy thing. If you don't want to balance your camera on some sort of wall or camera support. A tripod can be handy. Also, a shutter release is a handy thing, particularly if you're doing all this stuff yourself. You can fire your shutter from a remote position so that you're in place, ready to do your light drawing when the time comes. Having a flash, obviously if I'm shooting people, I need to have some sort of flesh. I use a flash in a soft box which softens the light down, as you'll see in the video later in the course, that softbox just isn't more attractive light on my subject. It wraps around my subject a little bit more and is a bit kinder to her because ultimately I'm trying to make her look as good as possible, as well as get those magnificent light drawing colors in the background. 5. Light Drawing Tools: Now the tools we need for light painting are many and varied. There are a lot of commercially available light painting tools that you can purchase or you can just create your own. I tend to do a mixture of both. I don't spend a lot of money on tools, but occasionally there's something I see either in a toy store or a hardware store that is going to work well for my light painting all my life drawing. Now the first thing that we generally need is a torch or a flashlight. I like to get the small LED torches. They're very bright, so it gives me more options to be able to light my subjects more brightly and to be able to use an exposure that's going to work well. These torches also zoom in and out, which are handy because I can use them to give me abroad fill of light Abroad spread or a narrow spread depending on the light painting tool that I'm going to use. Now to attach your torch to your light painting tool. There are various commercial options available for you to be able to attach the torch and then attach the light painting tool onto it. Now, I found in my local hardware store this little rubber grommet that I can use for the same purpose, it only costs about $4. It's a little grommet that attaches from your toilet system to the back of the toilet. But it's very cheap and very flexible. I can place my torch in the back of that little device. And I can place light painting tools that I have on the front. On the front. And it's quite simple just for me to turn that torch on and I can use that tool quite easily. So there are a lot of options available to you don't need to spend a lot of money to do this sort of technique. Now some of the tools that I do use, I've got various different tools from fairy lights, which I can just jiggle around in the background of the shot to give me multiple lines of blue or red. And I also have white as well. These were purchased for a $1.75 after Christmas, after Christmas sales. And they're quite, quite good. They take double a batteries, so very versatile and very handy to have. Also, I've got some LY here. Now this was purchased on the Internet. It's a particular kind of light painting tool that lights up this wire. And we can move it around within the frame to create beautiful, sort of textured lot. I generally use it on the ground because it tends to look a little bit better that way and we can move it around on the ground like a snake. It's not particularly bright. It's not as bright as the fairy lights are. So you need to maybe open up your aperture or move it a little bit more slowly to get the effect of the L-Y shot. Now, another tool that I use quite often is a water bottle, just a blue water bottle. As you can see, I've got a grommet on the top of this. I can just attach my my torch onto that. And then I just like my torch and it gives me this beautiful blue light in the background. You'll see some of the shots accompanying me here, uh, taken with this blue water bottle. You can get water bottles in various different colors. I like blue because it tends to stand out and accentuate my model skin tones as well. So that's a very simple thing. It didn't cost me anything because one of my children had this water bottle. I didn't want it anymore, so I just grabbed it and I use it a lot. Another option is these little tubes. These, these are tubes that we get with bubble ones. You can buy them for dollar, had a lot of hardware stores and things. So this will fit into my little light painting tool here. And my torch fits in the end. And I can just use it to move around in the background of my shot, as you can see in the accompanying images, this gives a really nice effect as well. There are a multitude of different colors that we can get with these bubble ones. But just keep a lookout for anything that you can find. This got colored plastic, translucent that you can shine a torch through and you can do some amazing images. Now, the other option that I have here is my milk bottle. We go through quite a lot of milky now here. So we've got a lot of these lying around. So I can do the same thing. I can attach my milk bottle to my light painting grommet team. I like painting grommet and I can put my torch in the end here. And I can light that bottle and move it around in the background. The results that you get from this really, truly amazing. Have a look at a couple of these shots. These are simply using a milk bottle in the background to shine that light and to create those light drawing lines in the background of the shot. Now, other options would include light sticks, such as a lightsaber. I pushed the wrong button there, but this is a lightsaber that changes color. And I can move this around in the background of my shot to create various different planes and curved lines in the image. And it's a wonderful thing. I've had this for about 20 years now, as you can see, it's been taped up and repaired so many times, but it's a great option as well. I have another one here, which is was bought online from an LED umbrella. And it does a similar sort of thing. It's not quite as bright, but it's a little bit more of a subtle sort of a, a lot and it's a bit longer. So it gives me longer, more graceful strokes in my image and it changes color. It's got various different colors and various different light patents that we can use with this as well. The one that I'm most excited about that I have created lately is this one, this LED strip that I bought from my local hardware store. It allows me to use various different colors and different patterns. There are a number of different buttons on the frontier that allow me to change the pattern and the color of the lights and the way that they interact with each other. It came as a strip of LEDs with a self adhesive strip on the back. I just stuck it onto a piece of dark timber. And I use this to paint around the background. And i've I've used this on a number of occasions, but there's still a lot of options that I haven't tried to do with this light stick. So that's another one that you can use. The last one that I want to show you today is my steel wool stick. Now, I've created this. I do a lot of steel wool spinning and a lot of steel will work. I've created this so that I can be a little bit more precise with the way that I use my steel wool and my sparks. Now I'm going to do another course in the near future about shooting with fire and shooting with sparks. So this steel wall tool and some others will feature in that class. But just because we've got a few examples of this being used in this class. I wanted to show it to you. So it's simply a cage made out of some bird wire, which I can place some steel wool inside, close it up, and set fire to that steel wall so that it's molars and it burns. And I can wave it around in various different ways to create patterns and sparks in my image. Now, obviously we do need to be very careful, particularly when we're shooting with models. I need to make sure that that model is safe and she's not going to get burned from these sparks. So I make sure the situation works well for that. I also need to be careful of fire risk. In Australia, he, bushfires are a major concern for us, so we need to make sure that we're not going to create any fires are generally do this stuff on concrete or close to water so that I don't have any fire risk. So that's another option for you to be able to create this, but do go into the safety concerns and make sure everything's safe before you attempt anything with fire always sparks. 6. About Our Photo Shoot: Now you're going to see a series of videos of a shoot that we did recently at Newcastle bars, which is an area close to the sea in New Castle on the coast, obviously. So we wanted a spot that was going to be reasonably dark, which it was we needed us an area that wasn't going to give us any ambient light, particularly that was going to give us ghost images of our model. We used a flash in a soft box to create the light on your model. And then we used the light drawing tools behind our model after that exposure. So we're shooting at ten seconds, 200 ISO at a random bad F8. So when we initially push the shutter, the flesh will fire. It creates a sharp image of our subject. And then she stays relatively still as we move the light painting tools behind her. Now she moves a little bit. It's not going to be a major problem because there's not a lot of ambient light, but she will just create a little dark edge around her. If she does move a little bit, which doesn't really degrade from the image particularly much. It still works quite well, but it's good to have your model stay relatively still during that exposure. You could do this same technique with that flesh, as long as your model can stay fairly still during the exposure, you will get a silhouette style of image of her or him in the foreground with your light painting in the background. Now using reoccurred and sink is not really much of an option for us with these sort of things recurred and sink is not as useful as a lot of people think it is. The problem with recurred and sink is that the shutter goes off and we do our light drawing or what if we need to do? And then at the end of the exposure, the flash fires and Lite model. The problem is that it's very much more difficult to judge the right time to shoot when the models in the right pose, when you're using reoccurred in sync, when we're using front curtain sync, I can just say to the model, okay, ready, Here we go. Boom, the flashes fired, and then we do our light drawing. So recurred and sink makes things much more difficult and it doesn't make the image any better. Front curtain sync works for 99 percent of the sort of shots that I do. So have a look at this video. You'll see the way we do things. It is shot in the dark, so excuse the fact that they are video cameras struggling in that darkness. But I think there's enough detail there for you to see the sort of things that we've done and the fun that we had doing it, and the images that we created. You can do exactly the same thing. So have a look, and I'll see you after the videos. 7. Live Shoot with Fairy Lights: Okay, here we go. Oh, yeah. Yeah. Good. Good stuff. We're here at New Castle bads tonight and a high tide, so we need to be bit careful of these waves that are coming in. We're gonna do some light drawing, all like painting, depending on your point of view, what you want to call it. We've got some great tools that we're going to use to do a lot drawing. We've got a model, Yasmin, who's going to be in the shots as well. So we're going to use a whole range of different things, specialized tools and tools that are just things that we find around the house. And we're going to play around, do a few different effects, get some shots that look really spectacular. So a few things that we have to think about when we're doing this. We needed to find a place that was relatively dark. Obviously, we need to shoot after Sunday. Probably want to place It's relatively dark for the reasons that I've mentioned to you earlier in this class. We'll say may need to make sure that because we're working in the dark, that our focus and our exposure is preset. Because I don't want to be changing around all the time for various different shots. I want to make sure that my exposure and my focus is consistent. And that's gonna give me more consistent results that are going out there and now we're going to work out well. So have a look and see the sort of things that we do. And you'll learn a bit about drawing. All right, We're going to start off with some fairy lights. So we don't use these. Okay, So Justin, you're going to be about halfway, halfway here and just go in and around. They're probably starting about here and go to the indirect concrete for that lining, so well, yeah, just just sort of like that. You've got ten seconds. Okay. Saying count ten elephants. Give us the time that we've got. So we're going to have Justin in the background with some, some fairy lights. We're going to leave this video lot on wall and during explanation, then we're going to turn it off for the shot. Because if that video it was on, we get a bit of ghosting had been a movement in the shot. Okay, we all ready to go. I'm at 10 seconds, shutter speed, FH at 200 ISO. So we've got 10 seconds to do all the work that we need to do. The flashes going to freeze Yasmin in the shot so that there's not gonna be any movement in there. So initially when we shoot the flesh who go off pop. And then we've got 10 seconds to move around and do that live drawing in the shot. Here we go. Go. Yep. That's it. That's good stuff. Would you are more Justin, while we're waiting for Jane. Okay. Ready. Go through a quick run along the front underneath on the ground. Yeah. That's it. Yeah, good stuff. All right. We're just going to step it up a bit. We're going to two different colored lights in this one. Okay. Alright. Led off. Here we go. Go sit. That's great. Fantastic. All right, looks good. Now, what we're gonna do this time is get you to do exactly the same thing, but we're going to leave the LED on so Robby can get visual of it. Okay, Now that looked really good. Don't step back any further, Robbie, in the drink. We're going to leave the video lot on this side just so you can see how hard my work as a working. Alright, here we go. Go. Keeping moving. That's it. A singing as they go. Well done. Perfect. That's how it's done. All right. Wonderful. All right. Now we're going to change it up a little bit. We're going to use some some large sticks, some lightsabers and various other things to change it up a little bit more. 8. Live Shoot with Milk Bottle: So how is sophisticated to how they're in a right? And then just move it around in behind them. Okay. So it might look like a normal milk bottle, but it's not just gotta keep it moving. Okay. We'll just get gender do at first the torch switches on the back. Just saying under those will just get Jen working first. I can hear you now. Yeah. Just like alright, here we go. Led off. Okay. Gretchen. It's good. Yeah, that's good. Like I went a little bit slower. Okay. Such as data? A little bit slower? Yeah. Okay. Here we go. Give it a shake every now and again to change the color. Very good. Now we can again, after the flesh curves off, I want you just to get him behind Yasmin and stay there. Just moving, swaying from side to side and keep doing that. Okay. Just put your thumbs and your pockets and leather jacket blurrier. Okay. Here we go. Just looking at that, right? Yes. Yeah. There we go. Okay. Say he was shy. All right. Okay. That's good. I want you to stay in there now. So you can't be in there when the flashcards off because we'll see you. So I got your finger on the button ready to go. When you get in, pushed the button slowly. Okay. And you give it a shaky but one change color. Right? Here we go again. Right? All right. Now we're going to get you to do that same thing again. And Justin's going to guide us through the back, began pushing around. Okay. Here we go. Go. To soften the edge eyes. Yep. They are all Iran, Justin. Yeah. Yeah. That's good. Okay. Good. We didn't quite get to the end. So a little bit, maybe a little bit quicker with your fate, Justin. Otherwise that's good. Right? We do the same thing. It looks like it looks like somebody running behind her with a milk bottle, with a torch in it. It does looks really cool. So we could we could put them in a cellophane or a bit of color on that milk bottle and have it to work. Okay. So Laura? Yeah. Okay. Yeah. Again, it's a good idea to share. The less important people. Had the shot looks, just say that I can do it again in a proper way. Okay. You've got to keep an eye on these paper to make sure they do a good job. Again, a lot of place. Here we go. Just for on the crack if you can. Yeah. Okay. Ready. Go. And keep using your Live cyber Jan and told us to stop. And it's good, Justin. Yeah, that's great. 9. Live Shoot with Light Sticks 2: I'm Jen. Okay. Here we go. Good. Different shapes. Yeah. Okay. That's good. This term one a little bit more fluid, sort of like a densa. Okay. Alright, once again, Jasmine, Here we go. Very good. Yep. Strike. So I can move a little bit more quickly to give you enough time to get right around. Okay. Ready, set go. I think you went. Yeah, just a little bit. But luxury co sign thing again. Just be careful of the face. Okay. Here we go. Well done. Yeah, that looks beautiful. This time we might get you in a bit closer and I travel so far, just sort of guy from crack to crack. And then a little bit, little bit slower. Just crack the crack. Same thing ran in front. Here we go. Yeah. Yeah, that's cool. I love that. All right, Here we go. So I could never do that with Monet's. Alright, yeah, looks terrific. Go one more because we made grounding and watch on one side of the stick. So you gotta keep the lots facing towards me. Okay. So when you turn that either I can't see any light. So try and keep the light facing me. Go. Yeah. Alright. When I've looked different style with the term gender is more sort of circular and Justin's and a little bit more angles. All right. Happy them. Just plus one. And the black here. Just stand over there and be quiet, okay. Alright. Sorry, You know what I made? 10. Live Shoot with Water Bottle and Sparklers: And Justin's going to set for it so that when we're ready to go, once it's backing or far the shot and genes going to just move it around. Okay. Okay. Here we go. Ready? Okay. Go slightly up a bit. Yeah. That's it. That'll do. Yeah. All right. Good. We got another one the other day. Just to have the back. Okay. Yeah. Okay. Further. Okay. Alright. That's good. I think you're right with that blue. They are the blue one I think would be better. So we'll do that. Just one will be enough. Okay, that's good. Okay. So we've just changed it around here. We've got a blue water bottle that we've got a torch mounted in the end of it with a rubber coupling that I bought from a hardware store. That's going to give us a blue light in the background as we waive it. And we've got a little sparkler attached to it, so we're going to get sparks on the end. So here we go. We'll give us again a lot of phrase. Okay, Jane, when you're ready. Go on. Yeah. That's good. Okay. You ready? You do one ran and ran and ran and ran. Go I ran the front. Well done. Yeah, that looks cool. It looks like it's perfect because you gotta you've actually gone up where Jasmine's head is. So it looks like it's a nice sort of a year or what we might do. You just told me get rid of the sparkler. We'll just use the blue and we'll just trace trace around. Yes, when if you can you can wiggle it a little bit as you get reacts. It doesn't have to be perfect. That's just because I think that the light source was a bit dim and we moved it a bit quickly and stuff. So maybe try and do it. Just is that's what it is or I was sticking you batteries in it. I haven't got any batteries. Are just got batteries. Thank you. Yeah. Yeah. Yeah. I heard somebody on the radio today, psi batteries. But I obviously, unlike an Australian, american say batteries and Australian say batteries. Okay. But just move very slowly, just sort of up and down. Can't you ten seconds to go right across from corrector? Correct. Okay. Okay. Here we go. That's better. That's cool. Okay. Justin, that's good. Just got a little bit more slowly. But the timing's right from from side to side. Yep. Yep. So if you count ten elephants, where it gets a ten seconds. Okay. Right here we go once again. Slower, Justin. Yeah. Apply. Yeah. Justin. Yeah. That's fabulous. But we just need a little bit more light from that one. Here we go. Ready? Yeah. Okay. All right. Cool. I love that little wiggle that you do at the top. She gets charged halo Here. All right, we've done quite a few things already today. We're going to get Yasmin change into another outfit. We're going to do a few extra things to finish off. And that'll do us for tonight. I think we've had a great night here so far, but have worked with you a few more surprising things. 11. Live Shoot with More Sparks: Now we're going to use a bit of steel wall. I've got this cage that are built on the end of a broomstick. And I've got some loose steel wool inside here. I'm going to light it with the little gas lighter and move it around and behind Yasmin. Now need to be sure that the sparks aren't getting onto her. We've got the wind coming on shore. So the sparks are going to go over me rather than on her, which is really good. And we're also going to get Jen to move around some blue lights on the bottom on the concrete. So that's going to contrast a bit with the warmth of the steel wool. Okay. Here we go. Hang on, Justin. Okay, guy Justin. Okay. We're just going to finish off with one other shot with our LED strip and then we'll head on foam. So it's been a really good night. All of my helpers that done a great job despite what I mentioned to him, but they've done a really good job. I couldn't do this stuff without all my helpers because I'm an old man, I'm nearly crippled, so it makes it much easier to have people out here helping me with this stuff. I think they enjoy it, so it makes it a win-win for everybody. So just what's this last shot they began to do. I'll show you a few examples and I'll see you in the next class. You're like, oh, that's good. So we'll do yours as well. Justin's going to go in the background. You're gonna get around on the floor. Okay. Everybody, right? Okay. Go. Yes. Wonderful. That looks great. All right. Well, there here we go. Here we go. Yeah. That's great. Yeah, that's good. Yeah. Happy with that. 12. Your Project: Now all of these techniques and all of these tools can be used in combination. You can do your own thing with these things. You can change the way that I do it to suit yourself. I'm just going to show you some options that are available. And it's up to you to create the sort of images that you're looking for. So you can change the brightness of your image by just moving your light painting tools more slowly in the background, you can change the pattern. Obviously, you can move around the back of your main subject and then ran the front. When I'm shooting models or need to be careful that I don't go over their face. But I can move around the back or around the front. We can use these tools in combination. We can do two tools at the same time or one after the other. It's still going to work okay, on your, on your shot, you can incorporate movement in camera movement if you want. Freelancing, there's a whole range of different options that you can combine with these tools to create new and exciting images. And that's what I hope for you. I hope that you can get out there and create stuff that I've never seen before, things that, that all would love to do. So it's a great thing about photography is that we can always create new stuff. Your project for this class is to create a lot drawing, photograph. It's very simple. You can just use a torch. You can paint your name in the sky if you want to. You could use different solidifying filters over that torch to create different colors. Use different light painting tools. Anything that you can make up yourself is going to work well. Just use a flashlight or a torch to highlight something and move it around. You could use a piece of fabric or a piece of plastic and just wave it around in the background. Try to be artistic. Have a look at your image after you've shot it and see how you can improve it, makes sure that you're within the frame and the composition is working well. So use your own ideas, getting out there and try this stuff because you can create some beautiful images, images similar to the ones that accompany this course. You can create them tonight if you want to. So get out there and do it and please post your projects in the project section because I love to see them and I'll give you any feedback that I possibly can on your images. And if you can ask questions, if you have any questions, please do that. Any comments or any criticisms that you have of our courses. We always want to improve these every time we do in your course. So please, if you have any criticisms or any ways that you would like to see us do things better? Don't hesitate to mention it. 13. Conclusion: Okay, So you've seen what's possible with light drawing. You've seen the sort of techniques that we use. Please get out and try it yourself. There's no substitute for getting out and shooting this stuff you can think about and plan and as long as you like, but until you get out there and try it, you're not going to learn. So take it out tonight, go out tomorrow night, get some friends along, do whatever you can to use some light painting tools. Create them yourself, make them or buy some, and create some unique images. I look forward to seeing you in our next class.