Film Photography: Playing with Light | Antonio Castello | Skillshare

Film Photography: Playing with Light

Antonio Castello, Experimental Photographer

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9 Lessons (53m)
    • 1. Introduction

    • 2. Your Project

    • 3. Prepping Your Camera

    • 4. Multiple Exposures: Selfies & Stories

    • 5. Long Exposures: Light Trails & Portraits

    • 6. Developing Film

    • 7. Final Prints: Multiple Exposures

    • 8. Final Prints: Long Exposure

    • 9. Explore Photo Classes on Skillshare

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About This Class

Join Lomography's Antonio Castello to learn fun techniques for making the most of your analogue camera! This 53-minute class covers the technical and creative aspects of multiple and long exposures so you have everything you need to capture fun, experimental photos.

You'll join Antonio for a few quick lessons at NYC's Lomography store, go shooting in the West Village, then walk through the final prints to help figure out what a great picture means to you.

  • With multiple exposure, you'll create a photo consisting of several images, each on top of the other.
  • With long exposure, you'll learn how to capture stationary elements while blurring moving elements and lights.

This class is perfect for everyone who took Lomography's first Skillshare class, Film Photography: The Ins and Outs of Going Analogue, and everyone eager to take their photos to the next creative level. It's especially ideal for fans of Lomography and digital photographers eager to learn more about film.

Your camera is an extension of you and your desires. Lomography is a part of life.


Photos courtesy of


1. Introduction: Hello and welcome. Today, we will play a lot with cameras. We will create some experimental photos. You will learn how to create multiple exposures and to play with light. This class is for those who want to experiment a little bit more with photography. So, a multiple exposure is just a picture of a picture. I start doing multiple exposures because I like to create stories with my cameras. Single picture can tell you a lot about something, but a multiple exposure can even tell you more just by exposing the picture twice or three times. Multiple exposure is something that comes with most of the analogue cameras. You're shutter allows you to shoot as many pictures as want before winding the film. Painting with light, it's something that is really fun. Photography has been always capturing the light, the camera, capturing the light even when the light is moving. But you're doing this as then exposure of the camera often for around 30 seconds to one minute and the lights are painting. The trace of the light it's stained on your film. So, what you're doing is you're, again, playing with light. So, this is something that is also for those who are artists, or those who have an artist inside. You don't want just a regular picture, you want to stand out of the crowd. Film photography, it's unexpected. All of these photos I thought that there was going to be something and something else happened. Capture something completely different, completely experimental, completely creative. So, it doesn't matter if it's a good or a bad picture, but what we need to do is just to create something new, something different and to explore yourself, to explore your art, and try to find, in analog film, what you cannot do with digital camera. 2. Your Project: For this project, we want you to create two pictures of multiple exposures and two pictures playing with light. It's okay if you're just playing and doing this for the first time and you only upload one single picture. But again, the goal is to have two pictures, two of experimental pictures with multiple exposures and two creative pictures painting with light. If you want to do multiple exposures and if you want to playing with lights, you will need, first, an analog camera because in this class, we're playing with film, and you need the camera that allows you to do both multiple exposures, long exposures. Multiple exposure is something that comes in most of the analog cameras. I have here 35-millimeter camera and a medium-format camera. The cool about the multiple exposure is that your shutter allows you to shoot as many pictures as you want before winding the film. You will also need some lights, of course, for the painting lights part. You can use any regular flashlight. You can use big lights. You can use the little flashlight on your phone. I mean, any kind of source of light will help you. What is fun about light painting is that you can even use the lights that are in your surrounding. So, if you have a still light and you just move the camera, what you're doing is creating light paint where the light is still and your camera is moving. But you can also do the opposite. You can have a light that is moving around your camera and the camera is completely still. So, that's the two ways of doing light painting. For multiple exposure, you can use any kind of film. If you're shooting during the night, the best thing is to use a high-speed film that is more sensible to light. If you're shooting during the day, the best is just to use a lowest speed film. If you're doing long exposure, you will need a tripod or something where you can stand your camera and keep it really still. If you're playing with lights and you want the light to be really clear and you want the objects around this light to be really clear as well or not blurry, you will need to have the camera really still. This is why tripods are so important, because if the camera is moving and the upper tool is still open for longer than 160th of a second, all the picture will be super blurry and will be like move. There are many different kinds of multiple exposures, but today, we will play with two basic ones. The first one is a selfie multiple exposure. So, we all are fans of selfies. But basically, we will do a picture of ourselves and on top of it, we will do another exposure. This way, we are showing ourself in a different way. We are also putting ourself on context. In the field, this is my selfie picture, and I'm so close to the camera that my face will be in the frame of the picture, right? But if I want to show where am I, if I'm inside of a storey, if I'm in the forest, if in the house of a frame or something like that, and you want to show also where the picture was taken, so, after taking your own picture, you will take a picture of the place where you are. So, this is a selfie on a multiple exposure. The second one is the one where we create a storey with signs and texts. So, what I wanted to do is to go outside and look for a storey. So, I tried to look for signs, try look for something that is on the street, a graffiti, something that communicates something. Try to do a multiple exposure showing this light telling a story. You can go and look for a restaurant, and take a picture of the sign of the restaurant, and then a multiple exposure of the food they sell there. You can try to look for a portrait of someone and then take a picture of the place where they work, the sign of the place where they work, or again, a picture of the Empire State and multiple exposure of our shirt that says, "I love New York." 3. Prepping Your Camera: So, maybe you're wondering why I have these golden fancy cameras. It's because lomography, it is also known because of the design of the cameras. We love to design new cameras, and come with crazy idea like golden cameras. I also like to shoot with golden cameras because they call the attention of people. Sometimes it's hard to create a portrait of someone if they're scared of the camera. For me, Golden cameras is a way to just create a conversation or break the ice with people. This is a Fisheye camera, 35 millimeters. I choose the Fisheye camera today because it's easier to shoot selfies. The Fisheye lens gives you a 170 degrees view. So, imagine this is a regular lens. A regular lens gives you these switches are 77 millimeters for portraits, or 58 for other pictures. These camera because it has a wide-angle lens, will give you a completely view of what is around me. So, this is really good for portraits because the lens will capture all about me. So, right now it's going to low my camera. This is released into load, I just have to move the film on the position of the film inside of the camera. The camera itself will give you the size of the film, and the shape of the film. In the winder, you will have some brackets that will pull this pools of the film, and you just want to catch those brackets with this sprockets. Now that you see that the film is correctly there, and that the sprockets are catch with the brackets, we're ready to go. Here I have a Diana close camera. The Diana camera was really popular in the '70s. It was created in China, in Hong Kong, and it was popular because people was looking for an easy way to shoot medium format photos. This is our plastic camera with a plastic lens, and it gives you a really low fi pictures. It's also pretty easy to use, but unfortunately, in the '80s when the cameras start to hit the American market, it was not popular anymore in China. So, the production stopp-ed right away when America was looking to have more of these. So, during the '90s, it was really hard to find one of those cameras, you will only get access to these kind of cameras through auctions or online old use equipment websites. So, in 2,000, lomography came with the idea to get built again to this camera, but we add a special option, and is the flash option. So, with this camera, you can also take pictures at night, and this is why this camera is perfect for shooting long exposure photos. Because we can use a flash with it, we can do portrait with the flash, but at the same time play with long exposures. So, right now I'm just going to load my camera with medium format film. Medium format film is not as popular as 35 millimeters today, but you still can find it, info just still made this film Kodak, 4G, and of course, lomogaphy will still do a lot of medium format film, and it's because we love the medium format film. Instagram, that is really popular now. It's based on this kind of cameras actually because of the plastic lens, because of the medium format, all those crazy filters that you find in Instagram are I think from this camera and from these kinds of cameras. These camera has shutters speed control right here on top of the lens. So, when we want to do long exposures, you will find these in most of the analog cameras if not in all. Also in the digital cameras, you will find a bulb option. So, bulb basically means that as long as you keep pressing the shutter, the aperture will stay open till you release. This way, you can create long exposures and paint with light. So, as long as you're compressing the shutter, the light will be painting all the film. I basically do three to five seconds if there's a lot of light, if I'm shooting during the day, and this may be too much if there's a lot of light. Long exposures are better if you're doing them during the night. During the night, I try to do from 15 to 30 seconds, and if I want to go more than that, and if I want to go beyond, I try to do one minute, after that will be too much light. So, with both cameras, I can do multiple exposures, I can do long exposures, which is painting with light, but today, I will use the 35 millimeters to do multiple exposures because the Fisheye lens will give me a wider angle, and I will capture more crazy multiple exposures. With the medium format, I will do some long exposures, and I will paint with light because I like the square format, because this camera is really iconic and the fact that the Diana close has now a flash giving more option to do long exposures on paint with light. 4. Multiple Exposures: Selfies & Stories: So, now that we're ready, let's put some hunting action. I'm going to tell you before shooting some tips and some mistakes that you want to avoid. With multiple exposures, it's always easier to have better photos if you shoot the darkest object first. So, for example, if I want to shoot myself and then I'm going to shoot a picture of the sky on it, and what I want to do is have a portrait of myself and a lot of sky over it. What I should do is always shoot myself first, this is because the sky with all the light will expose to photo first and you will have a really exposed picture. While myself that I'm kind of dark and I don't expel light I will don't expose the film as much as the sky. So, again first, always shoot the darkest object first and then the lighter one. It's always better to do two or three multiple exposures before winding the film. So, our multiple exposure is just a picture between a picture, inside of a picture, a picture of a picture, but it's better just to do three pictures the most because when you're taking too many picture, you're exposing the film at the same time and you don't want to expose the film many times. If you expose the film more than three times, you will be completely blank you will wash out the picture and will be too light. So, it's better just to do, the perfect number would be two. We'll say that a multiple exposure is like a martini, one is too little, three is too much, two are perfect. For this kind of picture that was very useful to think ahead what do you want to shoot. If you're trying to tell a story, always plan ahead what you want to do. That way you can have better multiple exposures, than if you just should one picture and then the other like crazy. Try to have a story in your mind. Try to plan ahead what you want to do with these. Another fun tip for multiple exposures is try to combine backlight pictures with textures. So, what I tried to do is take a portrait of a person that has a light really strong light in the back because this light is exposing the film. Everything will be white but the person that will be completely black. If you take before that a picture of plants or flowers or some natural texture. What is blocking the person will be this texture so, basically you will have a backlight picture of texture with the shape of a person. So, now, I just want to try to find a place that I like a corner or something that is appealing to me. So, to be a photographer, it is always to be really aware of fewer surrounds. Trying to find what's going on. So, these kind of backgrounds are a little bit what I'm looking for my first portrait photo. As you can see, the background is completely clean is just one color. So, if I take my selfie versus that background I will be able to shoot our second multiple exposure of something else. That multiple exposure will look very well over that background. So, if your camera doesn't just shoot by itself like The Diana you may have a multiple exposure option. In the lithography cameras, we have this MX which is multiple exposure. So what I do is I just take a picture of me and then I just hit the multiple exposure option on my camera and I want to look what is going to feel that wooden space. For example, this will be like super cool for the kind of background that we're looking because there's a lot of texture. So, as you see I always shoot myself first and then the background later because I'm the dark objects and the sky and the buildings and the trees are the light objects. So, I don't want to expose my film on the first picture but the opposite. Once that I take my picture I can just wind until it stop by itself. Now, I have multiple exposure. Now, that we have our selfie multiple exposure let's try to find something more interesting to shoot like telling a story or just talking with science. I think I will do some with The New York cabs, the yellow of the New York cabs is super distinctive of New York. So, I think it would be nice to get a cab and then something on top. That I have my cab I just need to find something else that will tell the story like traffic light for example. So, just in case I've messed up, I'm just going to do it again. That should work. I always like to shoot these Drugs signs because I mean come on you worked perfectly on multiple exposure pictures. What is exciting about these signs like on the top of buildings is that it gives you a really nice opportunity to show it and from the bottom and it gives you a really nice perspective from the floor to the sign. So, now that we have the Drugs sign, we only need to find something that goes along with these multiple exposure. I don't know someone in Drugs or I don't know. So, now it's time to just wait and look for the perfect character to go with our drug story. It's going to be hard. Too early for crazy people in New York. All good? All good. 5. Long Exposures: Light Trails & Portraits: While multiple exposures can be really easy, painting with light can be a little bit more tricky. But, if you just play around and just go with the flow, it will be something that would be easier with time and super fun. So, the first thing that you want to set in your camera, it's the shutter speed. Remember to always have the bulb option. If your camera is a little bit more professional like a Cannon or an Nikon or Hashmina or something. I don't know, something that has more options. You can play with longer exposure, so you can do like two seconds, seven seconds, 50 seconds shutter speed. But in cameras that are plastic and are easy to use like this, you only have one setting, which is the bulb, so that's the one we want. We also want to set the aperture of the lens on a small aperture because we don't want a lot of light coming into the camera. We want to capture more light with a longer timer, that a lot of light on a short time. So, it's better to close the aperture of the lens to F/16, F/22, maybe too much, but it's better just to play with a long time than with the short time. Remember, always to have your camera very still if you want to play with moving lights. If you're doing cars on a highway that are moving in front of your camera, is better just to have a tripod so your camera is completely still. If you want to do crazy portraits, the best way of doing is with the flash. Most of the cameras shoot the flash as soon as the shutter is released. This helps you a lot because while the camera is taking the picture with the open aperture, you're basically recording all the lights that on the wind. So, if you have a subject in front of your camera, and you're taking a portrait. Behind of the portrait the lights are moving. You will not see the person because it's too dark. So, the flash will help you to light the person. So, as soon as you release the shutter, will light a person and you will record all the lights behind this person. Some other cameras are the opposite. They shoot the flash at the beginning. So, you just need to know your camera first. Try to shoot a couple of times before, so you know when the flash shoots, if after you release the shorter or when you press it. Again, just play with the flash from the subject. What is fun about these low model flashes is that you can shoot the flash without being connected to the camera. So, they have a fire away bottom. What you do is that you can give the flash to a person. So, if you're taking the picture of a person, if you're taking a portrait, and the camera is still, and you give the flash to this person, and she or he just fired the flash from the bottom, all the light will light her face, and you will have all these crazy lights around, and the portrait will be super strong on the face. It will be different than if you have the flash in your camera and you're shooting the portrait. If you have more than two flashes, if you have like serial flashes, you can create crazy lights, so you can shoot. One flash in your camera, you can give the other flash to your subject. You can put one flash in the floor and you will be creating like sources of light that will be shooting around, creating really crazy spectacles. One thing that is very important is always to have batteries in your flash before going out. Some cameras, they have a light meter built inside. This light meter will help you to control the shutter speed. So, if your camera have a light meter and it's really dark outside, the camera will know how many seconds the shutter speed must be opened to take a good picture. So, for this, you will also need to have your batteries fresh. So, this is really important. Never, never, never go out without batteries or fresh batteries. If you're shooting in a cold night or usually in the middle of the winter, you must know that the batteries die sooner than during the warm weather. This is because the batteries need more energy to make your camera function during the winter than during the warm time. So, if it's really cold outside, it's better to have extra batteries in your pocket. Okay. So now, it's dark enough. First, we will have some cars painting our film, and then we will go to the park, and do some more creative stuffs. As you can see, I'm bringing my tripod. It's what is more important to painting with lights and I also have a cable release. This guy helps me to release the shutter. If I shoot with my finger like this, I will make the camera tilt and the pictures will be blurry. But if I got the help of a cable release, you'll be wiser. Okay. So, we're in 6th Avenue. It's a really busy highway. Right here, we have Saint Marks. No, it's not. The Christopher, I don't know whats's the name actually of the church, but it's a really nice church. So, I want to capture the church and the cars passing under the church. This is a trick that I always do with the flash. So, low model flashes light them red when they're ready to shoot, and I use this little red light to advance the film. So, this always helped me to see what my next picture is. So, now that I'm ready, I just need to frame my picture. I want my horizon line to be perfectly straight. Go to the bulb option on the camera. This light give me like, I will say, 15 to 20 seconds. But it's always good to do multiple pictures because you don't know how much time do you need. So, it's better to just do multiple pictures of the same frame just to test different times. So first, I'm going to test with 15 seconds starting now. So, as you can see, with the cable release, the aperture stays always open. I'm taking a long exposition of the street and the cars going by. There's not much cars passing by right now. There's hope that the next one is better with more cars on there. So there you go, that was 15 seconds. I will try now with a little bit more, like 20 seconds. So now that the light is green for the cars, we're having a lot of cars passing by, and this will help our picture to be way much better. When you're doing a long exposure picture, it's always funny because people who is in front of the camera will not be on the picture because the aperture is open so long that the people who is just crossing by will not be on the picture, you will have only lights. That's why we're recording only lights. Let's take another picture in other place. We are looking for a dark place to shoot. This is a nice way of the park because we have a lot of lights around but it's also a dark place. It's also a quiet place where we don't have much people traffic, so we can play around here. What I like about tonight is that because it rained a little bit and the snow is melting, we're going to have all these reflections from the water that will make the picture more interesting. So, I'm going to set up my camera, and this time we're going to do some portraits. Okay, so now we have our model and our assistant ready. So basically, he's going to paint with a flashlight around her. He's going to do some crazy stuffs, and because he's always moving, he will not be captured by light. One that he's done, he will go out of the frame and I will shoot the flash, and the flash will capture her alone. But the film already captured the lights that we were painting. We're just doing a long exposure with two lights. So, one is the flashlight which he's painting with, and the other one is my flash. Because the flash has a battery inside, she can just fire the flash on her face, and we will see her face more clearly. Ready, now. You can go out of the shoot now, and you can flash. That's it. So now that we're ready and we did some crazy painting with lights, I just want to do the other technique that we want to see and is the lights are still but the camera is moving. So, let's go and try to do something on the Washington Arc. So this time, we don't going to need the tripod because the camera is going to be moving, so we can just put the tripod away now. So now I just want to be in front of the Fifth Avenue so we have a nice view of the Fifth Avenue. Actually, this picture is just going to be a crazy one. We don't need to have special lights or a flashlight here because we have a lot of lights around. They're not much, it's not much light but if we do a 30 second photo again, a three second exposure, that should be enough. So this time, what I'm going to do is I'm going to play with the camera. The camera is going to be moving and will be capturing all the lights. So here I go. I don't know what's going to happen after that, it's just a lot of lights painting my frame. This is just something completely analog, completely creative, completely crazy. Now I just want to do a last one. We don't have much film anymore, I think I just have like one or two pictures left. This time, what I want to do is just capture the whole frame of the arc and the Fifth Avenue, the whole landscape. This is an easy one. I don't want to play with moving lights, I don't want to do crazy stuff, I just want to do a nice photo. So this time, I'm going to use the tripod again. So I'm just going to go a little bit down now just because I want to have more of the floor and more of the street than the buildings. This should be an easy one. There is not a lot of light, but there is enough. I think 20 seconds should be enough. Again, it's better just to do multiple pictures because you don't know how much time do you need, you don't know if 20's much, if it's enough, if it's not enough. So, it's better just to try different timings. What you can do is always carry a little notebook and just be like, in your notebook, you're doing your notes, and this picture was taken with 15 seconds, this picture I was doing with 20 seconds exposure. So that way when you have your prints, you will know what works better for your camera, you will know what works better for you, and you will have in your mind already what is better for you. This is how I know that 30 seconds over there was good, and over here twenty 20 seconds is good because I've been shooting around this park for, I don't know, at least two years or something like that. So, I already know exactly how much time do I need. So here we go, with our 20 second ones. I think we have some pretty nice pictures, and now it's time to go back to a lab, for me. For you, it's time to go outside and shoot some light nights, to shoot some multiple exposures. Remember that film gives you the opportunity to go as crazy as you want. It doesn't matter if it's a good or a bad picture, what we're doing here is experimenting with different stuffs. That's what I like about analog film, that when you see digital pictures from a lot of people, your friends or your family, you will see that they're always trying to get a perfect picture. With these creative tips, like multiple exposure, long exposures, printing with night, all that kind of stuffs. What you're trying to do is to capture something completely different, completely experimental, completely creative. So, it doesn't matter if it's a good or a bad picture. What we wanted to do is just to create something new, something different and to explore yourself, to explore your art, and try to find in analog film what you cannot do with digital cameras. 6. Developing Film: Once your film is ready, winded completely. You can go to Photography Lab. You will find different Photography Labs in big cities. If you live in a small city or in the middle of, I don't know, the desert, you can try to find your closest drugstores. Usually, they developed 35 millimeters. If you shoot black and white, you can even develop your film in your house. There's plenty of ways to develop a film. You can actually develop film with orange juice and coffee. If you find that you live in a place where it's hard to develop your film, the Lomography Lab has online service. So, you just need to go to and look for the lab service. You can shift your film to our lab in New York, and we'll send it back to you. Don't make the developing process something that is stop you of shooting more film. Once the film is ready, just drop it with the lab technician and after they develop, it will look something like this. 7. Final Prints: Multiple Exposures: Finally, our printer here back from the lab. We developed the film from our long exposure shot and our double exposure shots. I'm just going to go through them. So, let's go through the fisheye picture first which was the one we shot first. So, all of these pictures are shot with a fisheye camera. They're double exposures. We can see they are dark, basically because we shoot at a dark day and it was late in the afternoon. But this doesn't mean that they're bad. They're just different. I like how the contrast give you a lot of information. So, even if you don't see the image, just the contrast between the dark and the light can give you what you're looking for. I choose the best eight pictures out of film of 35 pictures. I just choose eight because you cannot expect to have all of your pictures perfect. When you're shooting, you always going to have some pictures good and most pictures are bad especially when you're just starting. This is also good because it shows you what are you doing well and what are you not doing, and where can you improve. Here, we can see the drugs or rugs because the d was off. All the light from the walls, they have given us all these contrasts and all these strong lights which is really appealing to the eye. So, basically, again, we have this huge contrast between light and darkness, and in the middle, this red sign is giving us this point of tension. So, it's always good to look for points of tension when you're shooting. For example, in this one, the point of tension here is made by the traffic light. So, you can see the two buildings, the one that we shoot first and the ones that we shoot second, and in the middle, the traffic light. So, this is a good example of multiple exposure. Here, again, we have the traffic light making some tension in the middle. So, point of tension is what the human eye will look for. So, when you take a picture, the eye will always go through this point of tension first, and then it will look the other. So, if this point of tension is somewhere in the middle of the photo and it's a strong light or it's a strong subject or it's a strong object, the person, the people who is looking at the picture, will focus exactly on this point and that's where you're looking for in a picture. Just to try to focus on something, so the person who is looking to this photo also focus on the same point that you were trying to capture. Some other photos are more weird, more experimental. Like this one. I like this one because you can see only the edge of the buildings. Basically, when we were shooting up with a camera and we were taking picture of the buildings, the light that was coming through the camera, at the same time, it was burning the film. So, you can see how you have a white stripe between the two blacks. It's because the light was not coming directly to the buildings, but directly to the camera. In the middle, you can see the double exposure of the actual buildings. So, you can see the buildings from the bottom of the street looking up and just the building in front of you. So they're facing you. So, this is, again, we're telling a story. As I told you last time, it is pretty important to tell a story with these double exposures. You can see that in here as well. So, not only do we have a point of tension, but we're also telling a story. Basically, you have all the cars passing by and the hand telling the pedestrians not to cross the street. So, this is something that is creating a double point of view on the mind of the people who are seeing the photo, the point of focus, and second, the story that you're telling. In this one, we can also see a photo that is telling a story. It's a little bit harder to see because of the contrast, but you can see me in the photo, it's a self-portrait. At the same time, you can see the sign and the lights. So, it's me telling where I am, right? So, if I see this photo for the first time and I see this person with the rocks, I can make a whole of stories in my head. I can make a story about a guy going to a rugs store. So, it's just basically what you want to tell and it's basically what you want to get out of it. There are some other pictures where I'm take some self-portraits like these two. But it's harder to see me because of the lights. So, again, this day, the lights were a little bit strong and they was too gray. So, it's hard to see me, but if you look carefully, you will see my head, you will see my cap, you will see a little bit of my face, and I'm just telling a story of the place that I was visiting. I'm just in the middle of New York on a great day surrounded by these big buildings. So, those are the 35 millimeter pictures taken with a fisheye. It was not what I was expecting, but I like them. With analog photography, you never know what you're going to get, right? This is the difference between digital and analog. With analog photography, you shoot and shoot. Suddenly, you come with something that you were not expecting. For sure, I was not expecting these kind of photos. So contrast and where the light is so strong and where the blacks are so strong. But at the same time, I like them because it's not what I was seeing that day. It's something completely different that remind me of the day on a different way. 8. Final Prints: Long Exposure: Let's go to see the Diana photos now. From this film, we got more pictures, we got, let's see, nine pictures out of 12. I left three photos out of it. My favorite is this one, is a long exposure that we shoot on the 6th Avenue. So you can see the church, you can see cars passing by, and it's telling you the whole story. It's telling you the story of this night in the East Avenue, in front of this church where the cars are passing by. The taxi, you can see the cap here on the corner and the car is just like waiting for something, but it's also moving because you can see the lights of the car. So the composition, it's very strong and the colors are also very strong. Next to this one, I also have this one, which is basically the same photo. But in this one we don't have the taxi. So you can see the difference between the one with the taxi and the one without the taxi. I like the one with the taxi better because you can see actually car's moving is not only the lights, it's actually a car passing by. The yellow on the corner is giving you these focal point that I was talking about. It's telling the people who's to seeing the photo, what to stare, where to put their eyes. After shooting these, we did a little bit of portrait. From these portrait I have three photos that I like really much. In the three of them, you can see Elisa just standing there with the lights in the back. They were shoot by different times, so as I was saying on the class, it's very important to great what are you doing. So, when you see the photos, you understand why the photo is better like this or is not as good as you were expecting. Each photo was shoot on different period of times. So, within the 15 seconds, and 20 seconds, and a 30 seconds picture. Basically you can see that the one that was shorter, this was 15 seconds, it's giving you the whole thing. So, you can see her face, you can see the lights in the back, but there's not a lot of light that is covering her. So it's very complete. While this one that was shoot during 30 seconds, it has a lot of light. So, all the lighting behind of her they are just covering the subject. So, it's hard to see who is this, it's hard to see her face, it's hard to see what is going on. It's interesting because it's different, because it's experimental, but it's not what we're looking for. Finally, we have one with a 20 seconds, this one is also good but here she's moving her head. So, when you're doing long exposures, when you're telling stories with lights, this object must stay really steady. So, if she's moving her head, the color will be like a weird just blurry thing. This is what happened here. We cannot see her face, the lighting in the background are really nice. These little things with the flashlight, they're perfect, but her face is not so clear. So, basically the one I like the most is this one with the 15 seconds. You can see this object, you can see her face, she's smiling, she's perfectly illuminated on her face. You can see the lights behind her and you cannot see the guy doing the lights behind here. So I really like this picture. I think this is my favourite from the portraits. After playing with portraits, we play with lights steady and the camera was moving. So in the first session, the camera was steady and the lights were moving. So the cars passing by or the flashlight moving, but in this occasion the camera was moving and the lights were steady. So, you can see this is way more crazy. This is just crazy lights everywhere. You cannot see what's going on, what it's about, it's hard to understand what's going on, but it's just something experimental. We're not looking for anything in particular, we just want to play with light, we just want to do a crazy photo. I like this one because we take a picture of a double exposure. So, in the background you can see the city, you can see the street, you can see something going on and then we move the camera with the lights, the lights were standing and we move the camera. So, you can see the lights moving, the camera, we're moving the lights steady painting the canvas but the street on the back. It's hard to understand though. This one is also interesting because the camera was moving forward and backwards. So you can see the same light just moving from this corner to this corner as the camera was getting close to the lights. This is interesting because you can see the movement on the camera and you can understand how the camera was moving. Finally, this one is the craziest one. I don't know if it's like this, if it's like this, if it's like this, it works in every way. It's just crazy light in painting. Think about the Pollock technique or the conceptual art right now where these big artists they go with these brochures, and they just paint like crazy. Of course they have a concept on their heads, well, you can do the same with lights. Painting with lights on your canvas and this time your canvas is a camera and loaded with film. Finally, I found this photo very interesting, I don't remember exactly how this happened. This is what is cool about film and is that most of the time when you take the picture, you wait till the photo is developed, and by this time has passed, you forget what you shoot. So, I don't really remember what is this about, but my gut tells me that there was someone pointing with a flashlight directly to the camera. So I can see exactly a light in the middle of the arc of the Washington Park and I found it very interesting because it's something that you don't know what it is. You see the photo and you don't know what it is, but it's super strong. The ice will focus on the light, the green light around the Washington arc, it's very vibrant, very interesting. This is, again, something that I was not expecting. So, in a few words, all these film photography, it's unexpected. All of these photos I thought that was going to be something and something else happen, and the result is very interesting is very new for me because it's something that I didn't expect to happen but it happened and I'm glad we did. So now is your time. I hope you have enjoyed my classes and you learn something new, and I'm eager to see your photos on your projects. So, again, the idea is to create one picture, painting with light. It can be a portrait, it can be street lights or it can be something crazy and experimental. Just go ahead and play with lights. I'm also expecting to see some double exposures. Something where you're telling a story, something where something unexpected will happen because you're taking a picture and then another picture on top. So definitely, you will not know what is going to be, but it's something that you know it's going to be very interesting and very different from your phone pictures or your digital pictures. 9. Explore Photo Classes on Skillshare: