How to Photograph the Moon: Techniques to Add Extra-Terrestrial Interest to your Images | Warren Marshall | Skillshare

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How to Photograph the Moon: Techniques to Add Extra-Terrestrial Interest to your Images

teacher avatar Warren Marshall, Passionate Photographer

Watch this class and thousands more

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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

11 Lessons (43m)
    • 1. Introduction to Photographing the Moon

      3:13
    • 2. Moon Myths

      2:57
    • 3. Moon Facts

      4:35
    • 4. Shooting the Moon

      8:57
    • 5. Daytime Moon

      2:24
    • 6. Post Processing

      2:41
    • 7. Sharna moon shoot Part 1

      3:36
    • 8. Sharna shoot Part 2

      4:20
    • 9. Moonrise Shoot at the Baths

      7:56
    • 10. Your Project

      0:52
    • 11. Wrap-Up

      1:29
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About This Class

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The moon is fascinating to us. Closest planet.

Photographing the moon can produce excellent images.

With a few helpful tips it is quite easy for anyone to produce great moon images.

In this course we will teach you how to plan and execute great moon photographs whether you use the moon as your main subject or as a component in a more diverse composition.

You will also see two live photo shoots that we have done incorporating the moon into the images.

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Meet Your Teacher

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Warren Marshall

Passionate Photographer

Teacher

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

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Transcripts

1. Introduction to Photographing the Moon: Good day. My name is Warren Marshall. I'm a professional photographer and educator from Newcastle, Australia. This course is all about photographing the moon. Now we can photograph the moon in a number of different ways. We can photograph it as a standalone subject, or we can photograph it as a component in a wider composition. I've done both types of photo over the years. I've photographed the moon many, many times and incorporated it into lots of my images. We earthlings tend to be fascinated about the moon because it is the closest planet to us. It looks spectacular in the sky and it's visible in the daytime as well. And we can photograph it at any time of day that it appears. Now it's not as difficult to photograph the moon as a lot of people think. There are quite a few misconceptions and myths about photographing the moon. We're going to go through all of those in this class. Now the photograph, the moon, we need a little bit of preparation, the same as we do with any of our photo shoots. The more we prepare, the better results tend to be. Again, I'll talk you through all of those preparation steps as well. And we're also going to show you a couple of shoots, live shoots that I've done, photographing the moon and photographing it in a way that's a little bit different. The first shoot we're going to show you is a shoot that we did with a model Shanna at a local beach on the full moon rise. We got some amazing images with the seawater splashing the model and the moon coming up. So you'll see all of those later on in this class. We also did a live shoot at local ocean bots. It's a place that really suits a moon rise shoot. Because we can get a long way back from your subject and make that moon, pulling zoom into that moon to make it bigger and larger in the composition. Have a look at a couple of these clips from the shoots and you'll see what I mean. Now my shutter speed is reasonably slow to capture these things on Danone a better 40th of a second, because the Moon's down low on the horizon. It's quite dull. It's not as bright as it would be if it was up higher in the sky. Okay, so let's get into this class photographing the moon. I'll see you on the other side of the break. 2. Moon Myths: Thanks for joining us in this class about photographing the moon. Now I want to start with a few misconceptions that people have about photographing the moon. The first one is that the moon is quite large. It does look quite large when we're looking at it, particularly a full moon, because our eyes and MD Brian tend to zoom into things that we're looking at in the distance. When we start to photograph the moon, we realize how small it really is. If you photographed it with a standard 50 millimeter lens, for instance, it would be like a pinpoint bec of your image. It would be very tiny. So as photographers, if we want to make that moon more prominent, would generally have to use a telephoto lens, eye lens. It's going to pull that moon in Lazada in F frame to make it more prominent. The second misconception that people have about the moon is that it's quite dull. And because they shooting at night, generally, to shoot the moon, they think they need to use a long exposure. Now, actually the moon is lit by the sun, so it is quite bright. You can use a similar exposure to what you would use in the diatom here on Earth. Now, a lot of people tend to photograph the moon and get a big white disk. That's a little bit blurry. The reason for that is that they're using a longer exposure, maybe 5, 10, 15 seconds. And that exposure is just way too bright for that moon to capture detail in the crisis or the surface of the moon. You're generally looking at it at a shutter speed of around about a 100th of a second. We'll go into this a little bit more carefully later on. But the moon is a lot brighter than a lot of people think it is. The third misconception is that the moon moves quite slowly and it's there for a long period of time. So you don't really need to hurry when you're photographing the moon. Now that could be the case if you are shooting with a wide angle lens or a standard type of lens. But when you're shooting a telephoto lens, particularly something very telephoto, pay 600 mil or 800 millimeters. The moon moves very quickly across your frame. When I've been using lenses of that sort of focal length, I can look away for a short period and then get back to my camera and the moon's disappeared out of my frame. You can actually watch the moon move across your frame when you're shooting with those long telephoto lenses. So it does move quite quickly. Now the fourth misconception is that the moon comes up at night, which it generally does, but it's more visible at night, but the moon is there in the daytime as well. The main has various different phases. It rises and sets at different times every day. So we can actually photograph the moon through the daytime just as we can at night. It just means that it's a little bit less obvious. The contrast between the sky, the moon is a little bit less, but we can photograph the moon during the daytime, just the same. 3. Moon Facts: Now as I've said previously, the moon is lit by the sun. And the position of the sun in relation to the moon gives us the various different phases of the moon. A full moon, which is lit fully as a full circle, is lit by the sun that's opposite it, a 180 degrees to that moon. So that, that moon is frankly it. So we tend to get a full moon rise at dusk when we have that sun directly opposite our moon. When we have a half-moon, it means that the sun is 90 degrees to that mood or close to it, so that it's lighting half of that moon. Get a crescent moon, then the sun is lighting the moon from back behind the moon on a slight angle. So it's only lighting the very edge of that moon. It's very similar to if you are writing an orange or a ball in the studio by moving the light source around that sphere, you can get various different shapes of light as we go around. Now, this can affect the texture and the way that the surface of the moon is rendered in that photographs, a full moon tends to look fairly flat. We can still see a bit of detail in those craters and we can still see the map of the moon, or suppose you could say. But when that light from the sun is coming in from an angle, we can see the texture, the credits, we can see that they are raised up and recessed portions of that moon because that light coming from the side will show us the texture the same as it does on a face, on a landscape or anything that we want to photograph. If you want to show texture and shape in a subject, we have a light coming from the side. Now, we can have it directly from the side. We can have that a little bit front of the side are a little bit back of the side, depending on the shape and how much of that subject or that sphere that we want to light. Now the moon will rise at different times of day depending on the phase of the moon. So we tend to get full moon rises, which are the ones that I love to photograph because they look a little bit more spectacular. Forming rises tend to happen at sunset or at dusk because that sun is fully opposed to a 180 degrees from that moon. Half moons will probably rise in the middle of the day. So that, that fault, that half-moon being half-lit by the sun, will make its way across the sky into the evening and then set halfway through the night. Now we can plan our moon shoots by checking the moon rise and the moon set. So we can have a look at apps. There are various different apps around that will give us a really accurate idea of the time that that moon's going to rise or set and the direction that that moon's going to rise or set. So check those apps, have a look at those apps and that can allow you to plan to be in position when the moon's going to be in the position that you want it to. If you're shooting the moon directly overhead, it's less of an issue because you can just go at it any time of night or day depending on the phase of the moon that you want to shoot. And it's up in the sky and you can photograph it. But I tend to love to shoot the moon in composition as a part of a composition. So I tend to like to get it close to the horizon. So that's why I like to be able to plan the times of day or evening that I go out to shoot those moon shots. Now the direction that the moon rises will vary throughout the year as the Earth's tilt on its axis, the moon in the winter in the Southern Hemisphere tends to move further south, so it tends to rise further to the south. So if there's a particular landscape or seascape that I'll want it to appear in. I need to wait for that time of year when the moon is at that particular direction, when it rises. Some times of the year or so, the moon in its orbit will become a little bit larger and a bit closer to Earth as we see it. Now it's only very small amount. We're talking about two or 3% bigger and at some times v0 than it is at others. But we tend to see the media and social media go crazy because we're going to have a super moon at a particular time. Everybody gets out with their cameras expecting this moon to half fill the sky. But in general, it's pretty much the same size as a normal mood. It just is a little bit closer, maybe two or 3% larger in air frames, which doesn't mean much to us as photographers because we can just zoom in a little bit more to make that a little bit bigger if we need to. 4. Shooting the Moon: Now when we're photographing the moon, there are a few things we need to take into consideration. The first one, as I said earlier, is that the moon is fairly small. So we generally need to shoot with a telephoto lens. The longest lens that you have is probably a good starting point. I don't have particularly long lenses, so if I want to fill the frame with my moon are generally need to shoot at very carefully so that I can crop it in later on to make that moon appear larger in my frame, people who fill the moon up in their frame would shoot with 600 mil, right? 100 millimeter lenses. Now the other decision we need to make is how do we want the men to appear in our image? Do we want to just shoot a single shot of the moon like this? Or do we want to make it a part of our composition? That's the way that I generally prefer to shoot. Sometimes I'll shoot with a bit of a silhouette in front of them wound so that it adds a little bit more to that composition as well. Now because I'm shooting mostly my landscape or seascape with the moon in the picture. I need to shoot it when the moon is low to her horizon. So that means I'm fairly limited in the time available that I have to include that moon in the image because the moon rises quite quickly. And once it rises up past my field of view on my landscape, then I've lost it. Then I need to move to a position where I can actually shoot up at my subject, maybe a clock tower or some trees or something like that that I can include in the foreground of my moonshot as it gets higher in the sky. Now, as it gets higher in the sky, again, we're pretty much limited to shooting just the moon in the shot. Now, when we talk about exposing him incorrectly, as I mentioned earlier, the moon is quite bright. It's a lot brighter than a lot of people think it is. When it's close to the horizon, it is at its darkest because that moon is coming through the light from the moon is coming through a lot of atmosphere that is just above the surface of the Earth. So it tends to darken that moon Dione the same as the Sun. When the sun's setting, it's much darker than it is in the middle of the day. So as that moon rises above the horizon, it appears brighter. So our exposure needs to change as that moon moves higher in the sky. Now there is a rule that people have used over the years to guess their exposure of the moon to get a good quality image to allow them to see detail in that moon. And it's called the lunar f 11 rule. Now the lunar F11 rule states that if you want to photograph the moon, whether it's a full moon or half-moon or a crescent, it doesn't matter because the brightness is going to be pretty much the same. But the lunar F11 rule says that if you set your aperture to f 11, then your shutter speed is the reciprocal of your ISO. So for instance, if we had 200 ISO, we would set our camera at f 11 1 200th of a second to give us a good exposure of that moon. If we had 800 ISO sit on their camera, we would use f 11 at 1 800th of a second. Now this is a good rule and it works quite well when you're shooting the moon high in the sky. But when that Moons down closer to the horizon, it's much darker. So we need to compensate for that. So that lunar f 11 rule doesn't work when we're down close to the horizon as that Moons rising. But it's a good starting point. So all would generally shoot the moon using manual exposure. I shoot most things with manual exposure so I can sit my exposure the way I want. And and it doesn't change throughout the shots that I take. I tend not to use auto-focus. I tend to focus manually. Or back button focuses in other way that I do it as well. If you use auto focus, often, your camera struggles to focus that moon, particularly if it's small in the frame, because your autofocus points tend to be on the sky, which is either dark or all one tone without any detail. So your camera will struggle to focus. A lot of times when you're trying to use autofocus to photograph the moon, particularly if it's high in the sky, I tend to use a single focus point. When I'm focusing, I use one focus point in the middle of my frame so that I can hold that focus point over the moon. I can use my back button focus or my auto focus, and that's going to focus on that moon properly. Now the reason why I love Back button focus for this purpose is that if I normally use my focus and recompose technique, as you'll learn in some of their other classes, we'll be talking about that. Every time I push that shutter button, it's going to try and refocus, which is not going to work because the focus is going to be on that black sky. So my back button focus allows me to focus on the moon, then take my finger off that folk that focus button, and it will stay focused in that 1. So it makes everything so much easier. So you can read up about Back button focus and see if it's for you. Not everybody loves it, but I find it very helpful. So focusing is a major issue, particularly when you're shooting the moon low on the horizon, because the moon is a long way away. So if we focus on that moon, a lot of our foreground can be soft or out of focus. Sometimes we just have to accept that this is the case. But using smaller apertures means that it's going to increase our depth of field. So using a smaller aperture means that we can get our foreground reasonably sharp and our moon reasonably sharp as well. So, to summarize, are generally tend to stay a long way away from my subject. I get far away from my subject if I can, so that when our zoom in to make that moon larger, my subject's going to be in the frame the wire wanted to. And you'll see in the shoots that we do later on in this class, the live shoots, I am a long way away from my subject when I'm shooting the moon. So that's what I do. The second thing I do is make sure that I focus either on the foreground and just allow that moon to be a little bit soft. Or I focused just past that foreground. So that that gives me a greater depth of field or greater depth of focus to give my foreground and my background more chance of being sharp. Because when we focus on a particular point in our image, now focus extends 1 third forwards and two-thirds backwards from our focus point. So if I'm focusing directly on the moon, I'm losing two-thirds of my focus behind it. And my foregrounds going to be reasonably soft. If I focus on my foreground subject, then my moon is likely to be a little bit soft because it's behind my subject. So there's a little bit of them, a little bit of calculation and a little bit of guesswork involved in that focus point. But try a few different options and you'll come up with a solution that fits your particular subject and your particular situation. Now one other thing that we do have to be careful with when we're photographing the moon, particularly when we're shooting with long telephoto lenses, and that's camera shake. Now, camera shake is an issue that comes up with a lot of air photography and it's an issue that bugs a lot of photographers. There are a lot of ways that we can get around camera shake and solve that problem. But basically camera shake is the fact that the camera's moving slightly when we take our picture. So our images a little bit blurred. Telephoto lenses that is magnified because the, the subject is zoomed in on its larger in the frame. So our camera movements tend to be more obvious. So we need to be careful with their camera shake. We need to generally shoot with a good solid tripod to start with. We need to try to make sure that our camera is not moving when we take the picture. If your camera has SLR has a mirror lockup, That's a big advantage because you don't get that movement when the shutter fires that the mirror pops up. If you have a mirrorless camera, then that's a bit of an advantage with that. You could use a cable release or a remote release so that you don't actually have to touch your camera to do that. Or you could use your self timer on your camera that allows you to delay the shutter by a few seconds so that you don't physically have to touch your camera to take the picture. So there are a number of ways that we can help that camera shake issue. But the best thing is to shoot multiple shots because you'll probably find that one or two will have a little bit of shaking there. And that's going to ruin those images. So if you take multiple images, there's probably going to be one or two that are going to be sharper than the rest. So that will solve that problem. But camera shake is one of the major issues that we have with trying to get sharp shots of the moon. 5. Daytime Moon: Now, as I mentioned earlier, it is possible to shoot the moon during the daytime. Because a lot of time that moon is up in the sky, it's generally a portion of the moon. It's a half-moon or a crescent moon, or three quarter moon, but it is possible to shoot it. The same principles apply with their telephoto. We need to try and get it as close to us as possible. So by zooming in, make that moon larger in the frame, we do have less of an exposure discrepancy when we're shooting in the daylight. Because the moon is still visible, It's a little bit brighter than the sky around it. So it's less contrasty in our image by their exposure is going to be very similar to the Luna 11 rule, particularly if it's high in the sky. Now a couple of ways that you can enhance this shot. Of course, we need to make sure of our camera shake and things like that. They're wet the things that we've discussed in the previous class. But using a polarizer can often help to darken the sky down so that that moon stands out a little bit more against that dark blue sky. If we shoot the light blue moon against the light blue sky, it tends to blend in a little bit, but using a polarizer and turning our polarizing ring allows that light to be polarized to darken down that blue sky depending on where it is in the sky. And that can make your image. Moon stand out a little bit more against that dark sky. Now unpolarized, it doesn't work uniformly on any sky in a new direction, the polarizing filter tends to work better at 90 degrees to the sun. So if we're shooting a half-moon, for instance, then it's generally going to work really well because a half-moon means that the sun's going to be 90 degrees away here. And our skies going to polarize quite well and in coming quite dark, if we're shooting further away from the sun or towards the sun than that polarizer tends to be less effective in darkening the sky, but give it a go and try it out. I'd encourage you maybe to borrow a polarizer first before you buy one because they are quite expensive and you may not get the US out of it that you think you will. So maybe borrow one or try a bit of a polarizing effect in post-production as well. That can help, which brings us to the subject of post-production of our images. 6. Post Processing: Now I rarely take an image that I don't do some sort of post-production in Photoshop. I shoot people, people are my main passion in photography. So generally speaking, I want to make my people look as good as possible. And often I need to manipulate my background as well to make my images look the way that I want it to look. You'll notice in a few of the shots that you'll see in the accompanying live shoots that I have done a couple of little things just to enhance the background. Taken a few paint chips out and removed a sign and things like that to clean up my image to make it look a little bit more than why there are water too. Because I'm in total control of this. So I can control the way my subject looks, the way my exposure looks, and the way that my composition looks by a little bit of post-processing. Now, by no means does that mean that you can just be slept Daesh, when you take your shot and just fix it up in post-production, I'm not a fan of that at all. You need to get the best possible image in Camera before you can do what you need to do in post-production, you're going to end up with a much better image. The better the image in the camera, the better the final result will be. So don't think you can be like when you're taking your image, there are certain things that you know when you take the shot that you will be able to repair later on, like signs in the background or, or things that are moving and stuff like that. But you might be able to repair later on. But in reality, tried to get your image as good as possible in post-production. Now, basic things that I would do with a normal moonshot, I might enhance the contrast a little bit, just to pull up the blacks. Pull up the whites a little bit, make them brighter and lesson down the blacks to make them a bit darker. Contrast makes your blacks blacker and your whites whiter, and it makes your image a little bit more punchy. Sometimes I might do a little bit of sharpening because my lenses are particularly fantastic. So a little bit of sharpening can often help that moon to be more visible. Sometimes I might manipulate that moon a little bit and pull it in a little bit closer than it is in reality. And I still have the same composition in my shot, but I just alter things around a little bit to make myself look a little bit better. It's all part of the creative process. The way I look at it. When our shooting black and white years ago, I used to manipulate these things in the darker and it was amazing the things that we could do in the darkroom to enhance our Images. Photoshop, and post-processing is just another way to do that. Just means you don't get smelly hands. And your, you can do these things much more quickly. Now in Photoshop then you can, then we could in the darkroom. 7. Sharna moon shoot Part 1: Okay, So gathering people, what we're gonna do, we're gonna shoot this moonrise tonight. The moon's going to be coming up just across the rocks there. I'm going to be shooting from a further back from a distance from B to a 100 mils. Just say that we can pull that mooning quite big. We're going to get Shanna on the rocks here that never get covered in water, so she'll be tidally safe. And as the moon comes up, we need to try and balance the light on Shanna with the light in the background. So core is going to be turning that light up and down just to give us a rod, a man of light on Shanna. We're going to have a soft light on Shanna and we're going to have a little bit of movement in that water, possibly, depending on on the conditions. Later on as it gets a bit darker, we'll just drop your shutter speed down a bit slower and get a little bit more movement in that, in that water. Okay, So cross our fingers and hope for the best. Then put that in the video. So just a matter of standing around and waiting to the Moon starts to rise. And we're now shut the moon rise before. It's best to do it the day before the full moon, which was yesterday. But the problem is that it rises with the skylight that so it's really faint. We need to have a bit of darkness in that sky. Just said that that means going to pop and come up come up forward. So when you get Dan is Shanna will probably do most of the shots here. You're looking back over the top of the camera. I don't when you're looking at the camera, it's like a shot of the skills. You're standing on the rocks and we're doing some shots of us. So we might do a few shots of you standing just white on the front foot and trial this foot back a little bit. Just elegant sort of things that, that looks nice. Maybe some shots with your, with your hands up above your head looking at towards the moon would just shoot the back of you. So we'll just play around a little bit that way. Oh, probably, probably the easiest way is if I mimic the post for you. And then you just look at me. And that way we can do it that way on that. But what we might do after you've done a few stand up shots on those rocks, we might get you. I've run some dry Iraq saver. They're just sitting leaning against a wall, leaning against a rock with a slower shutter speed to so we can blend some of that water around the outside. I've been waiting for a time when the moon rises at this specific location, it doesn't often get this fascia off in the year middle of winter, it gets further south. Yeah. So I looked on the photographers of femoris and saw that the moon was rising fairly self at this time of year. And then I just had to nail a day when we've got the moon rise at the right time, which is just after sunset. Because you need to get that dark sky for the moon to appear bright. And it's just a matter of lining up everything on the day and hoping for good weather. If we don't get the moon rise to come up, we can always get Corey to turn his back. And we'll just shoot over the top of his head. Tiny head rank query so we can see. Okay. Perfect. 8. Sharna shoot Part 2 : All right, We're getting position because it's going to happen pretty quickly. I'm going to shoot from back there. Sorry you Al-Qaeda's to get your feet wet. That flat rock. There's the one I'm thinking of seeds up higher than all the rest yet, but we'll get a little bit of water I read, but I think it should be okay. If it's a problem, we can move to another one, but we'll try and do that one if we can. Okay. They're just looking. Okay. Hi. Okay. Two, here is the difficulty when it gets, when it gets dark, is that the moon so bright and getting the environment expires correctly is really difficult. So you just got to compromise. You got to slightly average buys that moon so that you can bring the environment up a little bit. And that'll work so much better. So hopefully we've got some good shots. The early ones I think are the best ones because you still got a lot of dialogue around. So yeah, it was awesome. Shannon did a great job. 9. Moonrise Shoot at the Baths: Good. I were here tonight at Newcastle bards had the ocean bars to shoot the moon rise. There's not too many other people around here tonight, which is quite surprising because it's been advertised quite extensively that we're going to have a full moon rise and we're going to have a lunar eclipse tonight. So maybe everybody's waiting until a bit later on to come out with their cameras. But because we've got a full moon rise, it's happening at dusk, which means that the Sun from the western part of the skies and sets is lighting this Full Moon. And it's looking amazing, coming up just over that horizon. We've got a little bit of gap in the clouds so that we can see that full moon coming up over the water. Now I've only got a 200 millimeter lens on at the moment. That's the biggest lens I have. So I can't really get any really close up shots of that moon, but I'm incorporating it into a composition where the moon is just a part of that composition. So we've got these great pastel colors in that eastern sky, and I've got the green color of the bars, the structure there, the concrete, and we've also got the water there as well. So there's a lot of elements going together to make this moonshot work. As the moon gets higher in the sky, we're going to lose that composition because we're not going to be able to shoot with their telephoto and get that earthly environment in the shot as well as the moon. So we've got a limited time to shoot this cell that you get back to it. We've also got a few birds around tonight, which really adds a little bit of extra to the shot. We got a couple of crows that had been hanging around sitting up on the pole and the end of the bus there. And we got seagulls flying around all of the time. Now my shutter speed is reasonably slow to capture these things on Danone a better 40th of a second, because the Moon's down low on the horizon. It's quite dull. It's not as bright as it would be if it was up higher in the sky. As you know, as I mentioned in a previous class, that Luna F11 rule says that if we shoot at f 11, then our shutter speed should be the reciprocal of ale ISO, which means if you've got 200 ISO, we'd use F11 at 1 200th of a second. Now that applies to the moon when it's high in the sky. But when it's low in the sky, it's coming through a lot of atmosphere, which dulls the moon down. So I'm shooting at 800 ISO at the moment, 140th of a second at F 16. Now I want to shoot it f 16 because I want to get that depth of field. I want to get a shop moon and I wanna get my sharp foreground. If I shut it a larger aperture, then I'm going to lose one or the other. So if 16 is the sweet spot for me with this sort of shot, I'm a reasonable long way away from my subjects in the shot because I need to pull that, that moon in bigger with my telephoto. So I need to find a position that's a long way away from my landscape. So we'll just keep shooting some shots and see what we come up with. Yeah. As that moon comes up, skies going to get darker because the sun's going down. So I need to keep an eye on my shutter speed and adjust that said that my exposure is going to be correct as that Scala doc and stay on. So I'm down to about a 20th of a second now. So that means that I can't capture any moving people in the shot or the swimmers or anything. Shapley. So I need to be conversant of that. So keep an eye on your exposure as that sky darkens. Dan. I'm trying to keep all of the elements together. If I can get a couple of people in the shot, a swimmer, and somebody standing there. As long as they're relatively still, I can keep them in the shot and I can make the sharp look good. So I'm taking a few shots just in the hope of catching one at the right time so that those people are still enough to make them a part of this short. Just loosened up my composition a little bit because I want to get a bit of that color in those clouds as well. The beautiful gradation of tone from the really gray on the horizon up to the warm pinks and motives and the bright orange of the moon really stands out with those gray clouds. So I'm trying to lose them a composition a bit, getting bit more in the shot so that it works that little bit better. And to get as much variety as I can in the shots, would be possible to shoot a panorama, a stitched panorama would this scene, I'm not going to do it tonight, but we could shoot a sequence of vertical compositions overlapping so that we can stitch them together in a panorama program. And that would give us a lot higher resolution then we get from a single shot and would also give us that wider view of the scene that we've got here. All right, We've got some, some great shots tonight. The moon rise copyrighted, perfectly. Air exposures worked really well. We just needed to be careful with that composition. As I mentioned before, you've seen a few of the shots that we got. So I'll see you in the next class. 10. Your Project: Your project for this class is to produce a photograph with the moon in it. Using the moon in some way, whether it's a single shot of the moon, whether it's including it in a composition, or whether it's using a silhouette in front of that moon to produce an image. Just give it a go. Once you've tackled this subject and you've got it in your repertoire. It's something that you can add into an image at anytime. If the moon's there, you've got the knowledge to be able to photograph it. So put a couple of projects in the project section. I'll comment on them. I'll give you some ideas about how you can improve if they need improving. But you don't learn unless you get out and do this stuff. So please get out, photograph the moon, enjoy yourself, enjoy the environment, and create some fantastic photographs. 11. Wrap-Up: Okay, The ego, hope you enjoyed that class. I hope you enjoyed the chutes as well that we showed you. Some of the amazing images that we got a quite easy to get with a little bit of pre-planning and a little bit of careful exposure, composition, and trying to negate that camera shake as much as you possibly can. So planning is one of the most important things in any of the images that we do. So get out there, give it a go, try and get your moon shots. Looking the way that you want them to look. Everybody's an individual, so I don't particularly want you to shoot shots exactly the same as mine. I don't mind if you do, but you need to try and put your own stamp on things. Think about things that you can shoot with that moon in your image that are going to make your shots look different. Do a bit of composite work in Photoshop. If you're good at Photoshop, if you're not, just learn a bit and play around with composites in Photoshop, you can do some amazing things with moons. So if you do have trouble with the moons, shooting the moon the first time might not work out all that well. You can do it all again next month you'll get exactly the same phase of the moon the following month. So give it another go next month. Keep an eye on your apps to make sure you know when that moon is rising, the direction it's rising, say can be there, ready to shoot when the time comes. Okay. I hope you've enjoyed all that. I'll see you in the next class.