Light Doodles: The Art of Light Drawing Photography | Stuart Nafey | Skillshare

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Light Doodles: The Art of Light Drawing Photography

teacher avatar Stuart Nafey, Photographer

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

17 Lessons (1h 9m)
    • 1. Light Doodles Intro

    • 2. Definitions

    • 3. Your Project

    • 4. About Long Exposure

    • 5. Camera Equipment

    • 6. Shutter Speed

    • 7. Aperture

    • 8. ISO

    • 9. Focus Challenges

    • 10. Long Exposure Noise Reduction

    • 11. Light Tools

    • 12. Light Drawing Demonstration

    • 13. Light Painting Demonstration

    • 14. Combining techniques

    • 15. Editing

    • 16. Other Examples

    • 17. Final thoughts

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About This Class

Light drawing utilizes long exposure photography and multi-colored lights to create unique and artistic photographs.

This class defines the art, describes the camera and lighting equipment needed, reviews the camera settings, steps you through several light drawing examples and demonstrates post production editing.

For your project, you will create your own light paintings, upload them and discuss your process with other students.

Meet Your Teacher

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Stuart Nafey



Stuart Nafey is a Half Moon Bay, CA photographer that searches for unique perspectives of the world around us. A photographer all his life, he learned the art from his father. Digital cameras and computers have brought new life to his work.

He collaborates with sketch artist Lori Stotko to create unusual long exposure light painted drawings.

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1. Light Doodles Intro: Hi, My name is Stuart Navy. In this class is about light painting. Photography like painting, also known as light drawing and like doodles, is a form of long exposure photography, one in which you take control of the light that appears in your image. And often the light itself becomes thes subject. So who should take this class? People who want to do something different with the photography and want to explore the limits of their camera and equipment. These images are a performance much like a jazz musician improvising on their instrument. For instance, In this class, we're going to take extreme artistic license and create images that do not actually appear in the real world. Just using your camera and some, like painting tools, I will talk about the types of camera and other equipment needed. I will cover camera settings from exposure to the challenges of focusing in a little light environment. I will show you a variety of lights that I used to create these images. Some are store bought, some I've created myself. We will cover a light controlled environment because we'll be doing this in the dark. That's very important. Finally, I will demonstrate adjusting the pictures in the computer using a dhobi light room. As with anything else, the techniques will discuss here will require a bit of practice, but I think you will find them fun and helpful in understanding the exposure and focusing functions of your camera, for instance, will be working in the dark, and you will find yourself knowing the buttons and dials on your camera just by feel. This place is project oriented. From my experience, every picture comes out different and every photographer as a different style. I'm looking forward to seeing the images and the styles you were able to create and upload as a project, so let's get to it. 2. Definitions: before we get started, I need to define two terms for the purposes of this class. They're the two styles of light that we're about to photograph. These are my definitions, and I don't know if anyone else uses or grieves with, um The first is like painting. I refer to light painting when I am shining a light onto a subject and expecting it to appear in the final image as the way I live. It. Light is typically facing away from the camera and typically does not show up in the final image. The second is late drawing. I refer to light drawing. When I'm pointing like directly at the camera, moving it around in the air, drawing an image. The light itself becomes subject. 3. Your Project: came for your project. I would like you to draw at least three images using the to define styles. Make the 1st 1 a light drawing one where you point the lights directly at the camera, draws something in midair. Write your name. Draw pictures complex. If you want, use as many lights as you want. The second photo will be a light painted image. Choose a light colored subject and paint it with the lights. Try not to show the lights of the late sources themselves in the final image. The third image should combine the two techniques first, like painting an image and Andrew around it with other lights. Finally, upload those images to the project gallery so everyone else can see and comment on. Please include the following information. The camera making model that you're using in any lens that you might be using include the shutter speed. How long was the shutter open? Um, I'd like to know the aperture, and if you use the different eyes so sitting also, please describe with what lights you actually used in any techniques used to light your subject. Then check out the other students projects and leave comments as questions 4. About Long Exposure: long exposure there. Three camera settings that control exposure in photography, shutter speed, aperture and I s. So you could find a lot of details about those in other camera courses. But I'm going to discuss how we use them specifically for like, painting like drawing shutter speed is measured in time. We will be keeping the shutter open for as much time as we need to complete a drawing. We will use aperture on the other hand, to control brightness. If the picture comes out to dark will open the aperture up if pictures to Brightwood going close it down. Third camera setting his I s O, which can also control brightness by making the camera more sensitive. But there's a trade off. Raising the eye is so also induces noise. And since we're going for best quality, I'm going to keep my eyes so as low as possible. That's 100 on the camera that I use, and on Lee Late raise that as a last resort 5. Camera Equipment: camera equipment. I'm going to expect you to use a camera that is a few specific controls, mainly a camera that has manual positive control over things such as shutter speed, aperture and I S O. I also want to take manual control of auto focus. We're going to turn auto. Focus off, in short, would be disabling all the functions that you paid so much money for, and come toe like in your camera to be doing everything manually. Another thing will need to do is stabilize the camera. And that case will be using a tripod that you could also set your camera on a fence post or on a table of keys that the camera can't move while the shutters open. The third piece of equipment will be using is a wired remote. This helps keep the cameras stable, and it's also easier to hold the shutter open with, and you will see more details on all these settings as we go along 6. Shutter Speed: All right, We're going to talk about manual settings in detail. First thing I'm going to do I have a manual mode on this camera. I'm gonna sit that to em in this section. We're going to talk about shutter speed. Most cameras allow you to configure up to 30 seconds of open shutter time. Beyond that, your camera might have the bulb setting. This setting allows you to keep the shutter open for a so long as you can hold the shutter release down. I prefer bold mode because it allows me positive control over how long I actually hold the shutter open. Uh, if the drawing is going to take longer than 30 seconds, I can keep the shutter open for longer than that. If the drawing only takes 10 seconds, I can I can close the shutter before that time. Aiken, sit the shutter speed to the exact amount of time that I need. Now, I also use a wired remote when I'm controlling the shutter. This has a little button to open the shutter. It also has a locking mechanism where I can lock the shutter open. So this does a few things. Lots of shutter open. It's more ergonomic. It also reduces camera shake. And also, if I'm doing the drawing or the painting, um, hands free cameras on the tripod shutters open. I could move around through the drawing or painting in front of the camera, come back and release the shutter with the remote when I'm done. 7. Aperture: this is about aperture will be shooting again in manual mode. Aperture is what controls the exposure or the brightness of your picture, so being that the lights will be using are of different brightness somewhere brighter than others. Gonna need to experiment and adjust. The aperture is appropriate. Take a picture and evaluated using the LCD screen on the back. Your camera. If it appears too dark to you than open up the aperture a little further, take the same picture again if it's too bright. Things were getting washed out, your colored lights air turning out white. Close the aperture down, and that will bring some of the color back. So, uh, again you need to experiment. Adjust. The aperture is needed to control brightness of your picture. 8. ISO: I s O also controls exposure, but there's a price to pay. And if you raise the I S O, it induces noise reducing quality I'll be taking is so out of auto mode making sure it's set to the lowest possible setting, which for this particular camera is 100. And to do that I push this button here and turn this style Set that to 100 and, uh, Onley raise eyes. So as a last resort, if the picture is too dark or too bright not going to use I Isoda adjust exposure were using aperture to adjust exposure. 9. Focus Challenges: focus or on focus needs contrast, and we'll be shooting in low light. Low light equals low contrast, so auto focus on your camera is gonna have trouble when we're doing are like painting like drawing, so there's a few tricks you can think about. Turn the lights on and manually focus or use auto focus to focus on your subject. Uh, or with the lights off, you can shine a light on the subject, and it may be bright enough for auto focus toe work. Trouble is, though, auto focus kicks in every time you push the shutter halfway down. So when you turn the lights off and you push the shutter halfway down, the camera's going to try to refocus, even though you've already focused on. So if you focus with the lights on, you need to turn auto focus off at that moment before you actually try to take the picture . Finish camera. There's a little liver here for turning auto. Focus off on the camera. Some lenses have a place we can turn auto focus off on the lens. You only need to do one of the other, and that will disable auto focus. So how do you focus with an auto focus is off. Well, instead of turning lights on every time, or you may not have that option you. What I do is I focused through the viewfinder and manually focused the lens. Now it's just a hard in the dark as auto focus. So either shine a light on your subject, Um, or have your subject. If if you have an artist standing there with these little lights, have them shine the light directly at the camera and you find that's fairly easy to focus on. Another trick is to use the L C D screen on some cameras. If you have live, you are, you can zoom in on the subject again, shining a light on the subject, or have the subject holding something that's lit up just like everything else would be doing. Focus in manual mode most of the time because we won't have the luxury of turning lights off and on, and I just find it's accurate enough. It's another one of the things we've paid for and that we're not going to use 10. Long Exposure Noise Reduction: There's one more setting that I want to bring up that's not so obvious. It's called long exposure, noise reduction and all the settings will. The shutter and aperture settings have been very easily found on the outside of this camera , but for noise reduction, the noise reduction setting is buried deep in the menu. If long exposure noise reduction is turned on what the camera does, is it self corrects for internal noise that's picked up by the sensor that's induced by sensor? What it does if you take a long exposure picture, let's say a few seconds along five seconds long. The camera will then take a second picture with the shutter closed for an additional five seconds. It compares the two pictures with the shutter open shutter closed and cancels out any noise that it detects it coming from inside the camera. Now this works well and really corrects for ah, lot of noise or green that you might get in your picture. But if you're taking pictures that are 10 seconds of 15 30 seconds long, even a couple of minutes long, the camera is going to retake a second picture a couple of minutes long and I think that really slows the process down. Uh, there's a few ways around this Aiken that we're shooting in low I a so so noises. At a minimum, I can correct for noise somewhat in the computer. Using light room, I can eliminate hot pixels that might appear in the sensors using photo shop. To me, it's more annoying to have toe wait a minute or two just to see my picture and wait that long in between pictures. I like to shoot pictures one right after another, so I turn noise reduction off. If this is an issue for you, when you're taking pictures and you find that the cameras waiting a long time between pictures, that's what causing that noise reduction has turned on in your camera. Go to your manual. Every camera is different. You're going to find it in the menu somewhere. It's a matter of fact, since every camera is different, where you turn focus often on it's gonna be different, probably on your camera shutter, how you adjust shutter and aperture, and I and so all these items when you're in manual mode, you may just have to go and sit down with your manual and figure that all out 11. Light Tools: now on to the lates. This is an area where you can get very creative and inventive. There are very few light tools that are created for this art and ones that are pretty expensive. So I've went ahead and made a few of my own. Any light source could be adapted for light drawing light painting of for stool you might want to use. It's just a plain old flashlight that's Ah, white works of great and very easily available now. What I've done, though, was to go down to the local electronic store and pick up a few L E D lights and little button batteries and some wiring, and I decided to create my own lights with the switch that I can turn off and on, just like a flashlight to be used as light painting tools and light brushes. Most of these air made with, like I said, ultra bright led light. There's a switch. There's a button battery on. It's just some plastic tubing that I got at the hardware store. As faras regular flashlights go, this one is my favorite. I bought this on Amazon for about $25. When you first turn it on. It looks white, but then you have a button here that you can change for 10 different colors. Here's the boxing if that'll help again. I purchased this on Amazon. Cost about $25 but I felt that was worth it. If you want to be, take flashlights and create your own colors with them. Flashlights that normally come in white. I introduced a piece of ah color Jill in there. You could use a cellophane candy wrapper or any anything colored that lets light through. All I did was remove the front and ed the gel in front of the lens in front of the bulb and the gels are used. Are these Lord sheets of Jill that I bought at um theatrical lighting store in Oakland? Uh, we have all many different colors here. Neural Great. Give you quite a variety of light painting tools. Put these in front of any white flashlight. Not sure if you can see that or not. Quite a variety of colors. These gels cost about $7 each, and they're used for oh, theater lighting, so they're pretty pretty sturdy. I also use them on these Larry lights, where repped these Larry lights and normally white, very bright. And I repped different color gels around them. Our red, blue purple. Here's ah, few light tubes. These won't show up too bright. But, uh, again you get a different effect waving these rooms. So there is a multi led stick that, uh, just tied a few batteries to it. Put six led ease and a lot of wiring and a switch in Voila. You know, these actually have a tutorial online at instructive als dot com, and I will supply the link for how I actually built these led lights. There's something about I think this was at a garage sale. Or maybe for Halloween. This was a Halloween toy, actually works very well. Here's something that we bought it a gross. Still all these. I'm not sure you can see that little These little extensions here do light up and create quite an image. Cold cathode tubes could be found in computer stores, and they create quite a light. I've attached him to paint rollers that I bought at the hardware store, and since they are looking for 12 volts, you needed to attach quite a bit of batteries to him. But they did come with a switch and a little transformer. And I have a green one here too. These air fun. Very bright, though. Another use for these gels is where I took and put them between two pieces of black poster board and cut a hole just the size of my speed Light turned it on. This allows me to flesh my subjects with different color gels. Then there is the lit up hula hoop changes colors, creates different patterns. And this is quite fun. One final light. Any toy store. You might see one of these things here. You could buy a bunch of them. They fit on your fingers. Uh, turn them on and they are light and you can just draw with your finger. So keep your eyes open. Look for lights. Wherever you go, get some gels, some different colored lights. You have to be creative and inventive in this art. To find the tools you need to get the images you're thinking off 12. Light Drawing Demonstration: Okay, This is the actual light drawing we finally got here. I'm about to demonstrate the three different types of drawings I'd expect you to upload in your projects. The 1st 1 here will be a simple light drawing no background, and you should not be able to see the artist. I'm going to capture that with this camera here. Long exposure photography. Laurie here is agreed to help, and she's a be the artist and be drawing the pictures. Uh, and she's quite practised at this and pretty good as you'll see, because there's some distracting elements that on that wall in our studio here have actually set up a, um, black muslin hanging on a wreck that's made for hanging backgrounds that will eliminate the background distractions and also absorb any light and make it easier to edit. In Post camera is Nikon D 7000 DSLR of the lenses, a 17 to 55 that gives me plenty of zoom in and out to adjust for the size of the drawing. I am in manual mode, as discussed earlier in earlier chapters, manual mode shudder is set to bulb, which will allow me to hold the shutter open for as long as it takes for Lord to do the drawing aperture. I'm guessing right now because we haven't taken the picture yet, but I'm gonna sit this to f 5.6 somewhere in the middle of the range. Uh, the isso is set to 100. Lowest setting, too. Uh, for best quality. My focus. Auto focus is off. I'm gonna be doing all manual focusing here. Long exposure. Noise reduction is set off. I have a wired remote connected here that I'll be able to lock on opening the shutter. When Lori tells me she's done with the drawing. Then I'll release the shutter by unlocking the remote. And we are on the try pond Lorries will dressed in black tune. It will, um, less than the possibility of her showing up in the picture. I think you'll see that That's really not that big a problem. I think we're all ready to go now before we turn the lights off, I want Lori to demonstrate what she'll be doing with the lights on with her lights of the you can see. And while she's doing that, I'm going to just the focal wings to the size of the drawing that shell. Why don't you go ahead and draw their lorry? So I comptel let me, uh, after justice a little bit. She's going to draw. And that's the range. Okay, that's pretty good. And she's in focus. Any time you would. Just any time you had just the focal length of your of your lens, you must refocus again. Okay, I think we're ready here. So we're going to turn the lights off of the lights that are on here for the camera. Our way to break for this and que that's your cue to turn the lights off. I'll keep talking here. Okay, I'm going to ask Laurie to if she's ready, And when she says she's ready, I'm going to open the shutter and say, Go When she's finished drawing, she's going to say that she's done, and at that point I'm going to close. Are you ready? Laurie Shutters opened. Go and there she she's drawing for best results. It's good to point this type of led light directly at the camera. If you pointed off to the sides, it has becomes dimmer on the edges of the drawing on dumb you might know that I have no idea what she just Drew. And now let's turn the lights back on and evaluate. What happened here was so I push this button to see the drawing on the camera here, and it looks like a son with a face in it. I don't know if you can see that. I will put this back up after I evaluated on the computer. Very good. I think looking at this picture, it looks bright enough to me. I'm not going to adjust the aperture at all. So it's going to stay at F 5.6 and I'm gonna s glory to do another series of drawings and not draw any bigger than that. But that's just set perfectly in the frame. Do not draw any bigger than that. What I might do is actually widen it. I'm going to zoom back just a little bit and I need to refocus. Thank you for holding a light up. If you get the artist to hold light up like that, it really helps with focusing. Okay, so the camera is ready. Um, I'm gonna hold the remote in my hand. We're going to turn the lights off again. Thank you. Q. Laurie, are you ready? Ready. Shutters open. Go! There she is. I'm told of s and my doctors. And they said the elite These led lights are not harmful to your eyes. Although they seem a little bright to me. She's switching lights there. Notice we can keep the shutter open forest long as we want because we're in a very controlled environment. Here. We're in a very dark room. She's done. Okay. I'm going to take a look at that picture without turning a light song. It helps if you no, the buttons on your camera in the dark. And it looks like an owl. Okay, Cool. Um, let's do another one. Lorry ready? She's not ready. That's good. That's why we communicate back and forth. I ask her if she's ready. She says yes. I open the shutter. Tell her when to go. Ready shutters open. Go. And she tells me when she's done, we don't waste any time. And as long as she doesn't move forward or back, she will stay in in the plane of focus. Uh, okay, take a look at it. It's still bright enough. I'm quite can't quite tell what that is without my glasses on. Let's do another one and she's getting the lights ready. We have a table full of these led lights that I showed you earlier, and as long as she doesn't move forward or back, she'll stay in focus. But the lights themselves are actually being blurred because of their moving lorry. Are you ready? She's ready. Shutters up and go, and she's drawing again. This is a great thing to coordinate within with an artist to combine your talents, you, the photographer and someone else who can draw collaboration. Collaboration is a good word. That's another great picture and looks like it's in focus. It's Ah, it's within the frame. The exposure is perfect. I think that should do it for this lesson. That's it for the actual light drawing. As you can see, she gloried. The artist does not appear in the picture, the background has absorbed any ambient late and we are good to go, and the next lesson will be ah, like painting where we will turn the lights around and point them at a subject instead and illuminate the subject. That's my That's the difference between light drawing and light painting. OK, that's a wrap 13. Light Painting Demonstration: for the second image of the project, we're going to do light painting. Um, what I have here is ah, light colored subject. I'm going to use some of these lights and just painted a solitary color. We're We're working in a very low light area here. We have a controlled light environment and we just have this one light for the video. What we're going to experience is the lights would be off and you'll see some light painting being done. Q. Is doing a very good job with the with the lighting that we do have here, but it's a necessary evil, and that's the way light painting goes, You working in the dark? So these Larry Lights that normally white. But I've covered them with Jill and we're going to attempt to paint this horse here, this white horse three different colors one of the time and see how that works out. So what I'll be doing is opening the shutter, taking one of these lights, carefully shielding it from the camera, painting the subject with the color, taking care not to get between the lens and the subject that that would block it If I got down here. Come back on close. The shutter will examine the picture of the image on the LCD screen. See if it's bright enough. Not too bright. Will be adjusting the aperture as needed. And that's all there is to it. Okay, I'm ready with shutter. Why don't we shut the overhead light off? I am opening the shutter now. Shutters open. It's a nice purple light. I'm moving it around. Make sure I get all the shadows. Close the shutter, Take a look at the picture. And what I see here is that it's a little bit too bright. And there two ways to adjust that I could stop the aperture down. Another way would be to hold the light on the subject for a shorter period of time. I think what I'm gonna do is a little of both. I'm going to set the aperture. It was on five, not five, but six. I'm going to set that up to F eight and try that again. Same lights, shutters open. Approach the subject with my light, shielding it from the camera a little less time. Close the shutter and turn the overhead on. Please examine the picture again. much better result. This is a demonstration using the light pins that we used earlier in like for like drawing , using gaffer's tape of improvised, some temporary suits around the L. E. D's of my light pins, and this serves two purposes. One protects the light from showing up in the image as I'm pointing him towards the subject and to it narrows the beam. So I have, ah, more control over what I'm painting. So what I'm going to be doing here is beginning down very close to the horse again, being careful not to get between the camera and the subjects. I'll be painting from the side here, but I'll be using these lights to paint designs, getting a little creative. There's a yellow one, have a blue light also, and we'll see what we can do. I better take the time to focus that looks good while the lights are on. It's a good time to focus, and I'm ready to do some more light painting ready with shudder. If you would turn the lights off, please open the shutter and proceed the paint. One thing you want to be careful of is not to get between the subject and the camera with your lights or else you'll be blocking the camera won't capture it thin. Taking my time here. Did I get this back leg here and that back leg there. And the tail. Okay. I'm gonna open the shutter and see what we have. I'm going to close the shutter. Turn the lights back on. Ah ah! Horse of a different color. Sorry. Another example of, like, painting the summer Be using color gels and my speed light. And ah, willing victim here. What I'm going to do, she's going to move in three different positions. I'm going to Fleischer. Three different colors and let's see how that goes. Go ahead and turn the lights out. Q, please. Okay, we're opening the shutter. All right, here we go. Shutters open. Take a step to the center directly at the camera and step to your right and flesh you purple on that side. Closing the shutter. Looking at the picture. Yes, you can see every picture comes out different. All due to the experimenting with the lights, the camera's settings and the type of subject that you have 14. Combining techniques: This is an example of a combination of, like, painting and light drawing. And it's for the third image of your project. Lorries agreed to stand in as the model I'm going to painter with Ah blue jelled Larry Light shielded from the camera with my hand. And be careful not to get between the camera and the subject. Come back, Gribbin. My cold cathode tube. I have some shared cloth over that to kind of soften the edge of that light. Oh, come behind her. Do some light. Drawing with the cold cathode tube. Maybe even go in front with a soup. And when we go ahead and turn the lights out, I'm ready. Laurie. Ready? I'm opening the shutter shutters open painting with the Larry light. You just stand still there, Laurie. And time to close the shutter. This is the image we're going toe. Do some light painting and light drawing together. Hold your hand out like that. Not in front of your face. Be carefully. You're not off to the side a little bit. Maybe right. And what I'll do is I'll paint you a little bit with a few different colors and then create an object like that you are holding in your hand. Let's turn the lights out and try this one more time I need you to stand is still as you can tie. And I'm going to do some painting here being around your face this way the side of your head a little bit blue This side orange light is not quite as bright as the blue zone. Applying a little bit more to that you're holding your hands Still closing the shutter and let's see what we got. OK, it came out a little bit bright, but I think it's a good, good example. Whoa! One thing I neglected to do with paint your arm, but it looks like a disembodied head on your hand did light up. So it's always an experiment. What? That's what we're going for here. So what I'm going to do here is illuminate Laurie. One side of her face blue moved to the other side, rid on the other side, and then induce them drawing with a green led light, turning the led light towards the camera. Okay, so why don't we go ahead and shut the lights out? I have my remote in hand opening the shutter, being careful to shield the light from the camera paint. Laurie Red on one side moved to the other side painter blue on that side behind her point, the led directly at the camera for best results. Closing the shutter. Let's turn the light song. Evaluate the picture, and that is a successful picture, combining light painting and light drawing. 15. Editing: Okay, let's take a look and edit a few of the images I took during the filming of this class stuffed where I'll be using his adobe late room, The creative cloud Version 2015. Any image editing software that you have it would like to use probably has all the tools you need to do the work. Mainly, we're going to use cropping tool exposure control tools, in contrast to take a quick tour, uh, for light room users in the develop module. And I'm going to be using on the right side here. This is the crop tool. Next to that is the spot removal tool all the way to the right. On this panel is of the adjustment brush. Be using those below. This is all in the basic panel. Here we have, ah, white balance area. We have exposure and contrast sliders. It'll raise the exposure for the entire image or reduce the exposure for the entire image. Same with the contrast tool. On the other hand, these highlights and shadows on Lee control the mid tones, and then we have white and black control of these control. The very high and low ends of the light spectrum down below is clarity. This is another contrast tool, but again, this one only works on mid tones, but it has a tendency to steal some of the colors as you increase the clarity. That's why it's paired here with the vibrance and saturation tools. I double click on them to reset. OK, let's look at this image here. It actually, everything looks fine and this image as a nice, rich golden color to it. There is some unneeded space on either side. You might want to get rid of any areas that do not add to the image. One way we could do that is to bring the sides in. Actually, I think this is such a round image that I think we could choose a a one by one square crop for this click done. And there we go said. Now we're not worried about any artifacts that might appear in the unwanted areas. We could increase the brightness on this a little bit. Let's take a closer look at what these tools air actually doing. As we increase the exposure, we can see that it really brightens up the entire image, even the darker areas and if we reduce the exposure, it we lose color. Here we lose some of the richness. But if we wanted thes lines to be a little bit brighter, we could come down to the highlight tools that has the ability to increase the brightness of lighter areas without affecting the darker areas As much as a matter of fact, we could come down to the black tool and really increase. What we're doing is increasing the contrast between the light in the dark areas, and you can see this over sprays really come down could bring a dental or further even with the shadows and bring the brightness back up with the highlights. Clarity has, I think, doesn't apply to this image. But there that's a big difference if I can hit the backslash key to demonstrate the before and after. It's a subtle difference, but it does pop more, and this is all artistic decisions. Let's look at the next picture. You can see the artists drew with a white tool here. The blue and the rid colors came out pretty bright, but all the white lines are rather thin Now. Let's see, what can we do to bring them up now They're white. So I'm going to go to this white slider and see if I can bring those and, ah, as I increase the white, um, the white lines do get thicker, as does this bright yellow red area here. Lets reset that and try the highlights. Highlights that do a similar job. Uh huh. Either way, that does look better. I think maybe bring the shadows down a little bit, too. Take control of this over spray. Even the black might do that. Black will make the whole area a lot more black. I do notice that there's a little tiny speck here that's a that came out as we're making adjustments. I can grab this spot removal tool and take care of that just by clicking on it. It goes out in, selects an area of similar color and takes care of that spot. And plus, you could crop out all this area here. Let's move on. And this picture, the subject is way overexposed. We've lost a lot of detail that we could see. There's, I know there's a lot of detail in the tail here. For instance, there's also this mysterious smoke in the background that was not intended to be in the picture, but it must have leaked out of the light painting tool. I didn't maybe didn't have the snoot on, uh, effectively. But let's see if we can bring some of the detail back. I'm going to reduce exposure now that it's darkening the horse just a little bit. But it's getting rid of that smoke in the back, which I kind of like that. But let's just add, let's take a reduce exposure just a little bit. Now I'm going to go down to my mid tone tools, a highly highlight slider eyes, making the horse itself darker, But I can actually see more detail coming out. Clarity is a tool that I go to quite often to bring detail into my picture, and I see not only more detail coming in the legs and the tail and the muscles in this horse. But it's also bringing back that smoke that I was afraid of losing and we could add a little bit of saturation with the clarity Does tend to rub some of the color interesting. I think that's better. Let's look at it before there's the before there's after. I can see more detail in the after picture, and I think it's more pleasing to the eye. Next picture definitely would want to crop this down even before working on a tooth so I can get a larger image in the work area. This was fun. I was successful with focusing the led lights with suits and creating stripes and eliminating almost all of the horse and Mr Foot here a little bit. Ah, little over exposure here. I'm not sure there's much I could do with that in light room and is also I see some over spray some lights that really I didn't want to appear here. Some reflections. I can take care of them with the adjustment brush. Grab that over on the side here when you click the adjustment brush. Ah, whole new panel of controls opens up here, and what I've done is I've taken the exposure and I've turned that all the way down and get a minus four. That's stopping down four stops. Now, as we move the cursor back onto the picture, you'll see that there's a brush with a bit of feathering around it. Now if we start painting in this area here. I'm pretty confident that we can darken this up and hide this mistake. And the more I more I paint, it is cumulative to a certain point. And I also see Ah, hot pixel right here. So I'm going to say, done for this tool because it did a pretty good job of disguising those, uh, those artifacts Spot removal tool. When you grip that, you can just the size of the brush with the right and left bracket keys. I don't like using the brush any larger than I have to, but I'm gonna go with this size Click on that little hot pixel again. It's clones out or heels. We have it set to heal right now, but it can clone out, chooses an area that's similar and eliminates that spot. Let's zoom back out. I do like hating black to these pictures. Moving the slider to the lift increases the blackness of the darkest areas, and I'm going to go up with the highlight. It's good to play with these sliders to see what you can get. Ah, light Room is a non destructive editor means that never touches the original images, and you can go back and redo any edit that you've made to a picture. If I wouldn't want it to re adjust the the crop, for instance, it's all the whole picture is still right there. This next picture is way overexposed. I had accidentally turned my I s so up to 2000 from, ah, job that I had the night before and also had my speed light flash on this. And I had a full power and it just overpowered both the subject in the background. This is looking really terrible, but there is some good things about this picture. The subject is in focus perfectly. She stood really still like this. Like the color of her face here and this green on the right side. Though I think this purple is too far gone to save. So this is a good candidate for cropping. Let's just crop down, see what we can get here. Maybe we can save this picture. Okay. I'm gonna crop it right there. Uh, now it is. The whole entire picture is overexposed, Aiken. Then grab this exposure slider because I want to reduce exposure for the entire image. I think we're looked. That's looking a lot better. There's still some exposed areas over exposed areas on the face, but I don't want to bring exposure down on anymore. The picture. So let's just go to highlights. Maybe, And it kind of take some of the brightness off of that. The two bright of areas And this background doesn't look very wrinkled. Maybe if I increase the black and maybe bring down the shadows to that can minimize that. I don't think that's ever going to be perfect, but we do have an interesting picture here. It's a lot different than what we started with. Increased a little clarity that brings out detail in the hair, but it's also bringing out more detail in the wrinkles. Let's look a before and after. That's with the banks. Loeschke. Here's our before picture, and here's our after picture that might be salvageable. After that, I closed the EPA trade down and turned to power down on my flash, and I came out with a picture that was under exposed. Let's cropped this So we're not playing with more than we need to and and the image fills the screen okay again, I can bring exposure up because I would like the entire picture to become brighter. So now I'm looking at of face on the left and face in the middle as I bring this up into a proper exposure and now I'm noticing the face on the right is brighter than those it's We don't have a good balance here. There's a toll down here. A panel called H s L. I'll click on that, and I H s l stands for Hue saturation. Luminous. I think her face was just too bright here. I think it actually was looking. It was the best looking face when we started. So I'm going to reduce the luminous of just the color of this face. It's hard for me to guess exactly how much red and orange or what other colors air involved in their. Luckily, there's a tool here called Well, it's an adjustment tool that I'm going to select place over her face. Hold the mouse left mouse button down, drag it towards me, and that reduces the luminess. I'm doing it very slowly. If you look over there on the right side, it's pulling down red and orange sliders, and I think that's much better now It matches the other faces much better. Let's go back to the basic panel because I would like to get Richard some of that background. Bring the blacks in the shadows down. That's really increasing the contrast of the faces, but I kind of like it lexical. There's a little bit too much area here when compared to this area here between the faces, this'd is not something light room conduce. You need something else, so I would go to photo shop to maybe drag this over. So it's better balance, more symmetrical. Another light painting like drawing combination, where I painted half her face, blew half yellow and then used to get that little Halloween spinning tool to create a fire ball in her hand There. And the reason I'm showing you this is up here in the upper left corner. There's odd reflection and which is actually let's zoom in. But it's actually me holding that little spinning tool, and I have glasses on, and the toll just got reflected in my glasses. So that's something that's easily cropped out as this other mistake Over here, we could just come down crop things out like that and then adjust from there the next picture. Okay, The subject here is darker than the light painted Swee'pea lights behind her. These air cold cathode tubes I combined the red and the green together placed him inside some a piece of cloth to diffuse the light. We also have a big area here that's really not adding anything. So I'm going to crop this, and I think that's good enough. I am going to just bring the highlights down as I just the highlight slider. I see it's not affecting subject here at all, which is extra excellent. That's exactly what I wanted. Now I could bring the shadows up, maybe a little bit there that makes it a little bit brighter. I could now adjust exposure for the whole image because I think the the red light on the subject is balanced mawr with C cold cathode tube lights behind her. Let's play with this clarity. Slater. Now, as I increased clarity, I can see more much more detail coming out in the subject on her hair, and I also see more distinct lines appearing in this cold Catherine tube. But also I'm getting some artifacts over here on the side. Let's try and get rid of them with the black, uh, as I increased the black enough to get rid of that light on the side. This really adds too much contrast to the rest of the picture. So let's bring that back up. We can add a little. We can make the blacks a little bit darker, but there's still some light left over here. This is a good time to use the adjustment brush with my minus four stop exposure setting. And I'm just gonna paint right over this whole area here just to try and make that darker. I can even come over here. I don't seem much need for it there, but I like the way it's looking. Now. Let's look a before and after with the backslash key before and after. This is after. This is before much more dynamic one or two more images here, uh, definitely want to get the crop going because there's unwanted areas up here. Let's go with just a head and shoulders on this. The green antennas appear over exposed to me while the painting on the face is okay. If I just bring everything down with the exposure that darkens the model. But it also is darkening these antenna up here. Let's see if I could bring the model back using shadow. No, I can't. But I can bring the model back with highlights. And maybe I can bring her back with exposure and then used highlights. No, I can use whites. Maybe two. Dampen the fees. The only tool it's going to bring them down is exposure. And I'm going to have to use everything else to bring the model back. A lot of this is experimentation. You notice all just one slider and I have to go back and in just another. That's not too bad right there. I'm going to leave it at that. Let's look a before and after. Okay, this is the before picture. This is the after, before and after. It's a subtle difference. Ah, you could make fire with the few proper combination of ridden yellow lights Could give you some fun. Fire affects. Let's crop this down and take a closer look at it. Crease brightness can increase the exposure and some clarity and dark in the blacks. There you go. Okay, well, that's it for editing when you do your project. And if you have any editing questions, please Post, um, I'll be watching and maybe I can help. 16. Other Examples: due to limited time. And resource is we only did small scale images for this class, So I would like to take some time and show you other images that we have drawn over the years and maybe as a prelude to more advanced class I plan to create later on for skill share. Here's one with a came out. Quite interesting, I thought, and we used ah light bar something that it was a six inch type thing. They just glowed, and Lori was able to create interesting pattern of hair there. This was drawn with a pen that constantly changed colors as he drew, and that was it wasn't so easy to turn off and on, but it did change colors as you were drawing as same. Is this image here? So that's how that came about. Here's an example of, like painting. If you look very closely, you could see images of the L. E. D's as they were very close to the keys there as we escorted different color lights on to the keys, another late drawing image. But it shows you the range you can if you take your time, switch lights and point them directly at the camera, you can get a good, solid drawing. This was achieved with the use of mirrors in a room that had Florida ceiling mirrors on either side. Anything we drew just got repeated out into infinity. That was a lot of fun. This is another good drawing, I thought came out well, Picasso inspired. This is a bit of on guard. What I suggested was the artist draw the same thing over and over, using all the different colored lights that we had, and it came out very abstract. Same with this one here. The fish. Ah, this was excellent use of that light stick with the six led ease on it that I built. I really enjoy the way that came out. My hair was a light painting project where I painted the outside of the White House with blue lights and then walked around the inside with yellow and red lights on a very large flashlight with colored filters on the front. Similar image to the last year This is a historic house in Half Moon Bay painting the front blew the side red and the fence on the lower right yellow. This is a self portrait didn't demonstrate the Hula Hoop tool. But this is a combination of two different types of hula hoops, one with a more diffuse flight and then one with very sharp Christmas lights strung around it. And I started with delight surrounding the camera lens where camera couldn't see it open the shutter and walked away with him and went off to the side. And it kind of forms a wormhole. Another light painting. It's bit blurry. It's very difficult for your subjects to sit still for a new entire 30 seconds a minute, whatever it takes to do something like this. But it's still ah, fun effect. Ah, here's the first of a series of pictures I did set the camera on a tripod, left it there. This is right after sunset. Use that multicolored flashlight I have with the 10 different colors, and I went back and painted the same tree over and over different colors. Took about eight different pictures. It's a very powerful flashlight and, ah, really happy the way it came out. This one was Take him with my speed light flash using those gels, those different color gels that I placed between the black poster board again. This is Laurie plays trombone, and I had her hold the trombone in these five different positions, flashing her with five different colors. Another picture really like the effect. This was an image where we painted her arms in a certain position than she moved to different position. We painted him again and she moved to 1/3 position. I tried to paint him all different colors. I see some artifacts around that could be cleaned up on this, but it's a pretty stark effect combining yellow and red lights. So he's a good thing for creating fire. This I had access at night to a slot canyon, and I was ableto light. Paint it again. I used the multicolored flashlight with the 10 different colors in there and hit behind little passageways and was able to stay out of the picture. Onda. I've really enjoyed doing that. That took several tries to get it this good. The hula hoop again. I have the that pattern changing hula hoop in that really has been a lot of fun for creating crazy effects. If you put it on the ground and spin it, you end up with these or pictures use a very short shutter speed for this. Otherwise it gets all blurred or too much light made. This might have been a one second exposure. Another example. And as the hoop continues to change its patterns, we get a different effect with every image. This one is kind of slinky ish. This is the final image again. It's the hula hoop, but it was in a room with mirrors, so it gets this strange effect. 17. Final thoughts: all the drawings we've been doing. Our been on a small scale drawings just small in front of the camera here and light painting and small objects. But feel free to go out there and experiment with bigger lights, bigger things, cars, buildings like them inside, announced experiment and look for especially light colored objects to like pain. I'm also happy to include Laurie stock go in this light painting tutorial. She's the one drawing the light drawings. She's someone that can draw with her eyes closed and, as opposed to me, someone who can't draw with the lights on in my eyes open. So she's very talented and very practice that that and I really appreciate her sitting in and demonstrating the process like painting Life drawing is the perfect opportunity for you to collaborate with another artist. I also want to thank you for taking this class, looking forward to the photos that you have to upload and don't again. Don't limit yourself to the small size of light drawing a light painting we demonstrated here. If you have grander ideas and larger lights, go for it. Finally, I want to say that you can friend me on Facebook. You can follow me on flicker, and you could also visit my website at Stewart navy dot com.