Night Portraits: Your Opportunity to Create Unique Images of People After Dark. | Warren Marshall | Skillshare

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Night Portraits: Your Opportunity to Create Unique Images of People After Dark.

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

29 Lessons (1h 31m)
    • 1. Introduction to Night Portraits

    • 2. Challenges and Opportunities

    • 3. Location Choice

    • 4. Time of Night to Shoot

    • 5. Equipment Needed

    • 6. Exposing Night Images

    • 7. Working with your Subject

    • 8. Using Available Light

    • 9. Using LED Light

    • 10. Using Flash

    • 11. Backlighting at Night

    • 12. Light Painting and Light Drawing

    • 13. Using Fire and Sparks

    • 14. Other Lighting Options

    • 15. Using Movement

    • 16. Live Shoot with Maxcine in Park

    • 17. Live Shoot Light Painting Maxcine

    • 18. Live Shoot Backlighting Maxcine

    • 19. Live Shoot Maxcine Modified Flash

    • 20. Restricting light spread

    • 21. Jiggling the Camera

    • 22. Live Shoot with Indi at the Bridge

    • 23. Live Shoot with Indi on the Cycleway

    • 24. Live Shoot with Indi at Honeysuckle

    • 25. Live Shoot with Indi and Art Works

    • 26. Live Shoot with Indi on the Warf

    • 27. Live Shoot with Indi and Mural

    • 28. Your Project

    • 29. Night Portrait Wrap-Up

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About This Class

Many Photographers are unsure about shooting at night, particularly portrait shots.


 This is a real shame because shooting portraits at night can be fun, creative and highly addictive. You just need a few helpful hints to be able to produce photographs that will amaze your audience.


 I love shooting at night because the possibilities are endless. I can record a period in time rather than an instant as we do with daytime images. By using the various light sources available at night and knowing how to control them I can simplify my compositions which puts much more emphasis on my subject.


 Because few photographers venture out at night, your images will appear a little different to the mainstream photography we see.

I’ve been shooting at night for many years and I’m still amazed at unique images possible. Every time I go out after dark I trial a new technique that allows me to build on my skills and my repertoire.


 There are a few things that the night portraitist needs to have in place to  increase their chances of success:

   Have a plan in mind

   Take some kind of camera support (such as a tripod).

   Think about what lighting you may be using.

   Organise a subject to shoot and talk to them about the results you want to achieve.


  In this class I will teach you how to control all aspects of your night portraits.

You will see well over one hundred examples of my night images.

You will also see twelve live night time model shoots so you can see the way I control the lighting, environment, subject and compositions.

After you have done this class you will be armed with the skills to tackle similar shots to those you see here. I’m sure that you will love this class.

Meet Your Teacher

Teacher Profile Image

Warren Marshall

Passionate Photographer


Hello, I'm Warren Marshall.

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

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


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

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

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



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

See full profile

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1. Introduction to Night Portraits: Good day. My name is Warren Marshall. I'm a professional photographer and photographic educator from New Castle, Australia. This class is a bad night portraits. Shooting at night is something that a lot of photographers shy away from because they think it's a little bit difficult. They're not sure how to do it because I haven't had the experience at doing it. I love night portraits and night photography in general. Because I can see it as a way of getting unique images. Images that stand out above everything else. Shots taken through the daytime, a very common. There are a lot of images around like that. Night photography tends to be a little bit less common. So your shots tend to look a bit more unique. Also, the lighting conditions that we have at night. A very unusual, we've got a whole range of different colored light sources that we can use. And we can be creative with those light sources. I'm going to teach you all about those in this class. The other thing I love about night photography is that I've got a period of time to be creative with each image. Instead of shooting it a thousandth of a second or 500th of a second as I would through the daytime, I've often got 10, 20, or 30 seconds or more to create things, to play around with light, to move subjects or move my camera to create things that I just can't do through the daytime. Now, there are few things that you need to know before you go out and shoot night portraits just to make the job a lot easier and to get your workflow working so much better. Planning is a big part of it. I like to sit down and plan a lot of my shoots as you've seen in my other classes, I talk about planning shoots quite often. But particularly when you're shooting at night, it's good idea to have a plan in place. Plan the location that you're going to be in, make sure that it's a location that's can give you a lot of variety. A location that's going to work for the sort of shots that you want. And also think about your subject, who it is that you're photographing. Talk to them about the results that you're looking for or the emotions that you want them to follow. If you're doing a bit of subject movement in your shot. Now during this class, we are going to teach you all of this stuff. We're going to run through a whole range of different objectives for night photography. We're going to talk about lighting, a bad location choice, about time of day, about all sorts of things to do with night photography. So you're going to learn a lot of stuff in this class. You're also going to see over a 100 of mine night images, my night portraits that are taken over the years. So you'll see all of those shots and I'll explain the reasons why I've shot them and use them to illustrate the points that I'm going to put forward in this class. The other thing you're going to see is ten different videos of shoots that I've done at night with models in my local area. So you'll see how our work and you'll see how I set up lights and I'll explain things as I go. Yeah, that's great. Maybe hands up. We're going to play Cindy about where I am in the frame. And we're going to wait till the cows come along. Their headlights will like these reflect the poles and then we'll get the tail lot's receding the unpacks them. Okay. Yep. What that alright. And the cameras just going to be moving a little bit. The flashes going to freeze Maxine in the shot. And the movement of the camera over that longer exposure is just going to give it a little bit of a GIGO tell there's lots in the background. Keep going. Yep. So there's a lot of stuff in this class for you to learn about night portraits. It's really exciting option for you. It's addictive. So hang around in this class, have a look at the videos that we've got coming up. It's a very comprehensive class. And I'll see you in the next lesson. 2. Challenges and Opportunities: As I mentioned in the introduction, when we do not photography, there are a few challenges that we need to meet. One of them is that we're working in the dark. So we need to be able to see our camera settings. We need to be able to focus properly. So we need some sort of light source to be able to do that. Either a head torch or a torch or flashlight. That allows us to set our settings and then we can turn it off when we do our exposure. The other thing we need is a camera support, generally a tripod, because tripods are very easy to move around, they're easy to locate, their easy to adjust. So good-quality tripod is going to be a huge benefit. If you do not photography. It's not completely necessary, but it's a big help. The other thing we need to think about is lighting. Now, you don't need to spend a lot on lights. We can just use the torch or the head torch that you're using to take the shot. We can use available light, street lighting. As you'll see in some of the videos in this class, we could use flash. It doesn't cost a lot for a small speed light flash to be able to use to light your subjects. Or we could use LA days. There's a range of different options for us. We do need to be careful when we're walking around at night too, because we could trip over. There are safety concerns. It's a good idea to make sure the place you're going to is safe, particularly after dark. So all of these things are things that we need to put in place and be careful of. But we also have so many opportunities when we do not photography, as I mentioned, also an introduction. We can control our lodging to a huge extent. We can do so many creative techniques when we're working at night. I'm going to teach you these things in the following lessons. 3. Location Choice: Now the location that you choose to do your night shots has a big bearing on the results that you get. We need a location that's going to suit the style of shot that you want. If you want a city or a town location, then choose something like that. If you want something that's a little bit more landscaping, which isn't really a word. But if you want something, you had an abortion or an authorised, then go for something like that. It's great to have a location that gives you a few options. And those are the locations that I like to use. Ones that allow me to do half a dozen or more different setups and different styles of shot. The other thing we need to think about is people in the background. People that might interrupt your shot. Don't want to be Photoshopping people edit all of your images. So maybe go to a place where it's not quite so populated. Some way that's still safe. That some way that's going to give you the options so that you can do your shots without too much interruption. You need a location that's not too far away because she going to be traveling there in the dark and coming home in the dark. So you don't want something where you gotta be tramping three kilometers or three miles through the bush to get to where you want to go. So choose a location that's going to work well. And you might not always get the best out of it the first time. But try again. The more you go to a location, the more you try, the better the results you tend to get. 4. Time of Night to Shoot: Now even though we're shooting night portraits, the time of night that we go out has a bearing on our results as well. So we can go way out just after sunset, just as that sun has gone down over the horizon. We want to get some nice color in the sky. We can get that lovely graduated color in the sky from yellows and reds, pinks and blues. Or we can go at later a little bit lighter. So that, that's guys mostly a blue color when we shoot with their long exposures. Or we can go at later still, if we want to completely black sky. It's amazing when you're using long exposures. So 10, 20, 30 seconds or more, how much color can be brought up in the sky? Because sometimes you'll be to location in the sky looks completely black. But after you've done your shot with a long exposure, you'll see that color in the sky. You can see the stars coming through sometimes depending on the length of your exposure and your aperture. So the time of night, the ego will make a difference to the results in that sky. You may not want color in the sky. You may want current is going, I prefer to go out maybe an hour or so after sunset because I know even though the sky looks black to me, there's still a little bit of blue in there. And with my long exposures, I can vary how bright that sky is. It gives my shots little bit more interest and a love that blue color, particularly against the warmth of the street lighting or the lights that I'm using to whiteness subject. 5. Equipment Needed: Now the equipment that you use to do night photography is not all that much different to date on photography. Obviously, you need a camera support, a tripod of some sort. It's handy to have a light source as well. You could have an LED light source or a flashlight, or you could use just a speed light flesh, as I do with most of my night photography. Or you can use a larger studio taught flesh, something with a soft box or an umbrella, Ron, if you want to really soften the light on your subject. So just use whatever you've got. Didn't go out and buy things specifically, use whatever you have and you can be really creative with your lodging. A couple of other things that you might need a might be handy is a shutter release that allows you to set your shutter off from a remote position because it's much easier doing it that way then trying to set your camera off on a self timer and run across the way you want to be too large your subject. So a shutter release, just the layers you to take your exposure when you're ready at the right time. Another handy piece of equipment is a black piece of cardboard or paper. I keep a few of these in my camera bag all the time because they are quite helpful if I'm taking a long exposure and there's a car comes into shock that I don't want in the shot. I can simply place this over the front of my lens to hold that exposure for a short time. And then when the car disappears, I can take it away so that that car doesn't appear in my image. If somebody walks through the back of the frame while I'm doing a long exposure, I can do the same thing. I can just cover my lens with this black piece of card. And that makes that person disappear in the shot when they've gone, I just take it out of the way. So that black piece of CAD, very cheap, very simple, and it can be a real lifesaver. 6. Exposing Night Images: Now when we're shooting exposures at night, as I've said before, we tend to use longer shutter speeds. Shutter speeds in this full seconds rather than the fractions of a second that we would normally do through the daytime. But it varies depending on how much light with God, how much light we want to use. So we could shoot at 2.5th or a second for some particular shots. Could shoot for longer exposures for 20 seconds or 30 seconds or even more. Now if we're including the sky in our shot and there are a lot of stars yet. We can shoot for a period of time that's going to allow those stars to come out in your shot. Often I get those stars appearing in my image, not because I've tried to do it is simply a function of the longest shutter speed that I've used. And it's a bit of a bonus when it happens because it gives a bit of interest to the sky. But generally speaking, if we want those stars to appear static and as pinpoints, we don't want to use an exposure longer than maybe 10 seconds. Because any longer than 10 seconds or stars are going to move in the frame. So you'll get lines in the picture, as you can see in this image. So a 30-second or a couple of minute exposure is going to give you those star trials, which may look good, but there may detract from your image as well. Now generally speaking, my ISO is a bit high when I shoot at night, I tend to shoot at 400 or 800 ISO, but sometimes I'll go right up to 2000. They shall see in the videos of the shoot at the end of this class. But my ISO is not really a huge tool for me when I'm shooting outdoors. I like to set my ISO one particular sitting and leave it there for the whole time. I vary my exposure with my aperture and my shutter speed. Now my shutter speed is the most important consideration because that's going to give me the time period that I've got to shoot my shot. If I'm shooting a shot with car tail lights or headlights and the Beckman, I want a specific time periods so I know how long those trials of law to go into B. If I've got a reasonably dock street light background, then my shutter speed is going to be long enough to allow that to, to expose correctly. My aperture is there simply to allow my light on more people and my background to be reasonably exposed. I don't want to be doing too much Photoshop work to these images. I want to try and get them in cameras best as possible. Because particularly with night shots, noise can be more of an issue than it is in the daytime because you've got a lot more shadow areas. So my shutter speed is my primary consideration and then I alter my exposure with my aperture, generally speaking, but everybody is a bit different. You may choose to do it a different way. Now when I'm shooting indoors, that's different. I can still shoot night shots indoors, which I do quite often, as you can see from some of the shots that accompany this lesson. Because I turn all the lights in my room, it's a dark situation. So again, I'm in total control of my aperture and shutter speed and my ISO. And I'm in total control of my lighting as well. But I tend to use similar setting. So I tend to use longer exposures, longest shutter speeds. My ISO is generally bit lower when I'm shooting in the studio because I can control the light a little bit more, particularly on the background. And my aperture is just did simply to get my image the correct exposure. So whether I'm shooting indoors or outdoors, my camera settings tend to be pretty much the same way the light. Now exposure for night photography is very forgiving. You can shoot a shot at five seconds exposure, and it's not going to be a huge difference to 15 or 20 seconds exposure. So you can guess reasonably well. And after you've done a little bit of it, you tend to guess fairly accurately. We don't need to worry about the old law of reciprocity that we used to with film because there's no reciprocity failure with digital imaging. So we don't need to worry about that. So we can simply increase the aperture to make our picture brighter. As long as we've got the shutter speed that we want to use. 7. Working with your Subject: Because we're talking about portrait photography in this class, we need to consider our subject as well. You need to talk to them to explain to them what you're trying to achieve. You need to make sure that they feel comfortable in front of the camera. Particularly if they've gotta hold still for a period of time, which is often the case when we're shooting at night. So make sure that they're leaning against something, make sure they're sitting comfortably so that they can reasonably stay nice and still. Now, when we want people to stay still, we don't want them to concentrate on staying still because then we tend to get expressions that tend to be very stack. So we want them to be relaxed. That expression is still the major part of our image that face. So we want them to feel comfortable and feel relaxed, but just not move around too much. A little bit of movement can sometimes be okay. Sometimes we want a lot of movement. If we're shooting something that we want some creative blur in the shot, or some flesh and blood, which we're going to talk about later on in this lesson. Then we explain to them how we want them to move. We explain to them the way we want them to move, how far we want them to move, all of those things. Now often we need to shoot multiple shots for these things to turn out perfectly. That's not a problem. It doesn't cost you any more to take a few shots. But the quickie you can get it and the quicker you can get the results in the quickie, you can move on to the next idea that you have. So talk to your subject, make sure they know what's going on and make sure that it's a team effort. They put in the effort. And you put in the effort, you'll get a much better result that way. 8. Using Available Light: Now the first sort of lighting that we can use when we shoot outdoors at night is the available lot that's there in the scene. Particularly for shooting in a city or a township location will have straight logging, will have shoplifting, will have various different light sources that are around. So you can use those to create your image. As you'll see in the lessons that we have lighter on. The problem with these losses. Generally they're fairly low-power. They look nice and bright when we're looking at them, but when we go to photograph them, they tend to be very low-powered. So we're looking at high ISO settings and we're looking at longer exposures and larger apertures. So if you're shooting with a large aperture lens, then that can be a little bit easier. Depth of field can be a little bit of an issue when it comes to large aperture lenses. So I tend to shoot with a zoom lens, with a medium zoom lens for most of the shots that I do. And don't have a great deal of problem. If you do need to shoot for a longer period, just make sure that your subject is nice and still leaning up against something or sitting down. Just said that there's not going to be too much movement in the shot. So using available lot, It's a little bit more difficult, but sometimes it can look a bit more atmospheric. 9. Using LED Light: If we use LED constant lighting, which a lot of photographers tend to do nowadays, it again, is not particularly bright. It's much easier to use at night than it is in the daytime because it's very hard to get LEDs to really perform well in the daylight because their brightness is fairly restricted. But in the evening, at nighttime, then the ladies come into their own because exposures tend to be longer, ISOs tend to be higher, and our atmospheric light is a bit lower. So the LEDs can show up a little bit better. So a couple of things you need to be careful over there, ladies. The first one again is camera movement or subject movement the same as we would get when we're shooting available light. Because you're going to be shooting at a gym really slow shutter speed for really d, then the subject movement can be a bit of an issue. So make sure they're nice and still. Make sure your camera support is nice and still as well. The other thing with LEDs is that the further away we move them the same as any other light source, the less light we get on our subject. So they need to be reasonably close. And particularly if we try and soften them by diffusing them down and making that soft light a bit more attractive on your subject. The light level guys wrote down again. So think about it, whether it's worthwhile shooting with a really decent noise, or whether you'd be better off purchasing a cheap speed light flash, which I tend to favor in most situations. 10. Using Flash: Now the third source of light that we can use when we're shooting portraits or night is flesh. Now flesh is amazing in these situations because you've got so many options when we shoot flash. The major advantage of when we're shooting flesh, particularly with portraits, is that it's going to give us a sharp still image because our Flash Boys at a very fast duration. So we don't get any movement in our subject. So we can freeze our subject quite reasonably. We still don't want the subject to move around too much because we might get a bit of blue around the outside, but flesh makes it so much easier to get a sharp image of our subject. The other thing we can do with flashes, use it off camera. We can use it in various different guises. We can soften it down, we can harden that up. We can restrict the spread and make it into a sort of a tunnel light. And you'll see all of these things in the videos at the end of this course, where I've modified my flesh in various different ways. So fleshes a hugely beneficial tool. Nowadays with off-camera flash options, we can use radio triggers to allow us to fire a flash from any position at all. We can read them fire from behind our subject to get some backlighting I shall see later on too. So Flash is a huge benefit when we're shooting portraits. 11. Backlighting at Night: As I mentioned, that we can use Flash or we can use any sort of light behind our subject to backlight our subject. So that light is facing towards the camera. We don't particularly want to have that light visible from the camera position because then we're going to get lens flare. We're going to get really bright spots in our image and it's probably going to obscure subject. We need to have that light in behind our person when we're doing these portraits. If we let someone's solely from behind, then we'll get a silhouette because the dock on the front side, because you're not learning them from the front, but they're backlit. So we tend to get a silhouette or we get a ringlets subjects. So we've got a thin layer of light around the outside of them, which can look really effective. Generally, when we're shooting silhouettes, always shooting totally backlight shots of people. It's best to have them in profile, to have their face directly to the side so we can see the features of the face. If they're facing directly towards a camera, it just looks like a silhouette of someone just with a dark black hit. So use that technique of using that profile if you're shooting silhouettes. We can also use backlighting in conjunction with front-loading. So we can use a light behind our subject, either a flash or a street light, or some other sort of LED light behind them. And then we can let them from the front as well. And that's generally what I tend to do more often. We can if there's a bright spotlight in the background some way, you can position your camera so that, that, that bright light is right behind your subject's head. So that will highlight their hair and put a halo effect around the hair and their upper body. When we're using backlight, we can also introduce other substances into the shot. We can spray some some aerosol spray in the background to give us some fog effect. We can use flour or powder in the background thrown into the air so that, that backlight throws that beautiful clout in around our subject, as you can see from some of the images here. We can also use water. We can use spray bottle or we can shoot in the rain that allows that backlight to show up those raindrops nicely in our background. We still mostly want to light the front of your subject, either with a flashy oil a day or some other particular light source. But it just adds something extra to our image. We can use colored light on that backlight just to show a bit of color into the shot. Generally a complimentary color to the environment or the color of the clothing of your subject that we have. So there are a lot of things we can do with that backlog. So give it a go and see how it turns out. 12. Light Painting and Light Drawing: Another sort of light source that I didn't mention earlier was light painting. We can use their torch to paint the light onto our subject quite easily. You've seen another class that I've done on light painting. I do that quite often. It's one of my favorite techniques. So as long as your subjects still, your camera's still on your tripod, you can use your torch or your flashlight to actually paint the light onto your subject. And here are a few examples that I've done that same thing when I've shot my night portraits. The other thing we can do, which is often called light painting as well, but I tend to refer to it as light drawing is we use the light source to actually draw lines in the image along with their subjects. So as subject is in the image and we use a LEDs or any other sort of light sources to move through the image during the exposure to give us some sort of patent or some sort of creative light in the background or the foreground of our image. And you'll see some of those shots here as well. So that's another option for us because we've got that extended period that we're shooting, our exposure. We've got the options to do all of these sort of things. 13. Using Fire and Sparks: Again, because you've got that long exposure, we've got the option of creating some fire in our image. Now when we've got a subject in our photograph, a person, we need to be totally careful of their safety. So there are ways that we can shoot these shots and ensure the safety of our subject. We need to make sure that we've got things on hand such as fire extinguishes or water so that we can extinguish anything that might happen. Some of the shots that you'll see here are actually created in Photoshop. Where I've done the shot of the person, particularly the bride and groom. And then I've got them to move away. And then I've kept my Cameron same position and I've done the specs or the fire in the background so that they're totally safe. Would never do that sort of thing with a bride because I don't want to sit for I to address. So they're done separately. The same shots the same idea is done with Maxine and the tunnel. I did the shots of her beforehand and then I did this back shots and the flame shots. And I just blended them together in Photoshop. But it is possible to create these images in camera. You just need to be careful of the distance between your sparks or your father and your subject and make sure that that's totally safe. Get back, use a telephoto lens so you can have 20, 30, 40 meters between your fire and your subject so that they are well away from it. Or you can be very careful with it when you're shooting. I've done this quite a lot and I'm very careful with the way our shoot so that I can be reasonably close to my subject, but still have all of the situation in hand. And with regards to safety, so be very careful when you're shooting that sort of stuff. But again, it adds another level of creativity to your night portraits and allows you to do things that other photographers just don't do. And you can combine a lot of these lighting situations. We can use backlighting, we can use different colored lights, we can use fire and their shot. And we can use the light drawing and painting all in one image if we want to. So the possibilities for creativity are endless with this sort of stuff. 14. Other Lighting Options: Now a couple of other options that I explore. I haven't done a great deal of this, but I've done a little bit of it in a works really well. The first technique is what I call secret flesh. Now the examples that I'm showing you here, I've done in the daytime, but the same principle applies at night. You can have your lot in reasonably close to your subject so that it actually shows in the frame. You can take a few shots. So it's locking your subject and your flesh and your soft box or whatever it is is in your frame. Then move that light out and move your subject dad. And just take a plate. So you just take a shot with the app that flushing of the same background that gives you an option to be able to layer in Photoshop and just erase that light out of the image, as you can see here. So that image looks like it's lit, but there's no light source there. So it allows you to do a wider image to include more of your background or more of your location. But then get rid of your light source in the shot. It's a great technique to use. We can also use gels. We can use some colored gels in our image. We can just get these little Joel's that we buy on the Internet for $10 a packet. You get about 50 of them in a packet. Stick them on the front of your flash just with a rubber band. And that changes the color of your light source. You can change it to any color, blues, oranges, reds, yellows. And that can add a lot to your image as well. So you can see the difference between lighting someone with blue light and lighting someone the orange light. You can play around with your white balance as well, which I often do. I'll often use an orange Joe, such as this to light my subject. And then in my white balance, I'll turn my white balance to a tungsten light sitting or the incandescent sitting, which balances my subject for this colored Lloyd. But my background appears much bluer because it's not lit by the, by the same colored lot. So again, so many options available to us. 15. Using Movement : Now one of the last things I wanted to talk about is something that's a little bit more creative and its movement at night, because we're using those longer exposures, we can use movement to create wonderful images that just can't be created any other white, very unique images. Every image that we create is different. It's unique. Now we can do it in a number of different ways, but the major way that I use is camera movement. So I'll take my camera off the tripod. I'll use a flash to light my subjects so it gives me that sharp image of my subject. And then my camera will be moving around, whether it's just incidentally or on purpose. I'll move that camera around. So there's lights in the background move around and they give me shapes and lines and patterns that allow me to create images that I can't get any other way. You'll see a lot of the images that are accompanying me now, a shot in this way. Some of the videos that you'll see at the end of this class I've done with this technique so that I'm hand holding my camera. I'm using my flesh to give a sharp image of my subject. The lights in the background moving around so it can give you some really great results. Of course, the other way you can do it is to move your subject. Now, moving your subject in the frame is a little bit more difficult. I prefer to use flashing conjunction with a bit of movement from my subjects. So if I've got my camera steady on a tripod, I can use a long exposure. When my shutter goes off, my flesh gives me a sharp image of my subject. And then I can just have them move around a little bit to give it a little bit of blur in the image. So that gives me an image that looks like movement of the subject, but my background is completely still in shock. So there are other options that we can do it. Again, we can combine the two. So there are lots of different things. Reflections, reflections in pools of water or in wet pavement looks so much better at night because particularly if we're locking as subject with flash or with bright LEDs, that reflection becomes more vibrant and easier to see because we haven't got a bright sky behind it. We've got a dark sky so that it doesn't reflect into the, into the reflection. And it gives us a much greater reflection at night than it would in the daytime. So, so many options out there. I could talk for hours about the options that we have available to us when we shoot at night. 16. Live Shoot with Maxcine in Park: Good. I where here at customs house in New Castle, in a beautiful foreshore park next to New Castle harbor. We're going to do some night portraits. Tonight. I've got a few of my mates here to help me out. And we've got Maxine, a model you've seen before in some of our classes. We're going to mix up the techniques of fair bit. Tonight we're going to shoot with some available light. We're going to shoot with some LEDs. And we're gonna do some work with speed lights because we're shooting at night. Our speed lights have adequate brightness and our LEDs have adequate brightness. What we want when we're shooting through the daytime, they struggle a little bit. So we'll try a few techniques. I'll explain it as we go. And hopefully you'll learn a bit about night portraits. Were here at our first location. We're going to simply use the street lighting to light Maxine for this shot. Gonna do a couple of shots. Now a couple of things we need to remember is that street lights up fairly high above Maxine. So we need to keep her face up a little bit so that we get that nice light on her face and in her eyes. We'll do a couple of shots with that available light. Then we're gonna do a couple of shots with some LED lighting. Okay, and then we might end with a little bit of flash. All right, Here we go, Maxine, just keep that head back that little bit. Nice and still run a 1 second exposure here. Two seconds actually, I just told you that to give you a false sense of security, that's lovely. We do one more, Keep that face up, but I just want you to roll your face. Yes. So you can look at me. That's it. Great. Here we go. That's good. Okay. Stay there. It will just move in a little bit closer. All right. That's great mixing. Just looking up again to start with your feet. One more nice and still. That's it. Great and nice to me. Yeah. I've got my white balance just set to daylight. I didn't want to muck around changing my white balance or night depending on the light sources that we're using. So I'll just fix it in post is going to have a little bit of a tint to it, but it won't be a problem. I'll be able to fix it and sorting out the colors in post-production. You stand up here, please stay just in case it falls over. Okay. Just trail that back, foot back a little bit. Maxine. Yeah. Good. Now we're we've introduced an LED into the equation. We're going to use the LAD just to throw a bit more light into Maxine's face. I don't work much with LEDs. They're okay to use at night, in the daytime, they are pretty much useless because they just don't have the power that we need. But because we're shooting at night, we've got long exposures, so the LED is going to be working fine. So looking straight at me just like that, Maxine, that's great. Here we go. See it once again. Maxine is very good at holding still. Wonderful. Okay, Now can we turn the paper around so that you're facing back that way, but you're turning your waist around to still look up my way? Yeah. That's it. Great. Now what I'm gonna do, I'm going to increase my ISO just so that we don't have that long exposure because I'd be worried we're going to get a bit of movement in there. So I'm going to increase my ISO up to 800 just to shorten my exposure down a little bit. Okay, and I'll drop my exposure down to 2.5th. It should give me the same exposure because I've increased my sensitivity of my center and our reduced the shutter speed. So here we go. Once again, Maxine looking up that way for me. Yeah. Here we go. Great. Eyes to me. Yep. Can you put that hand up and you're here because one yeah. Okay. Turn it face a little bit more. Yeah. Great. Okay. We always need to get our model will most of the time you need to get our model's face turned towards that light. So we get that nice short side lighting on a face. All right. That's great for that. That's looking good. Okay. All right. Yeah. Like saying Yep, Just to come straight out there, That's great. Maybe turned up foot around so we can see the profile of a shoe. Yep. That's it. Good, Hugo. Wonderful. I'm just going to move in closer. I can get you just a shuffle that way a little bit. Yep. That's it. Good. That's correct. Okay. Here we go. Yeah. Perfect. And last one. Okay. That's great. Here we go. All the wind's blowing. Yeah. Okay. Fried stuff. Thank you guys. And jumped down. Good. Try reflection shot and say, Would you be comfortable standing up on the edge of that song? I would just try and see just where you were before. Yep. Probably teach stand up on each and therefore you okay. Yeah. That looks cool. Yep. Probably looking up that way. And rigor in the short term. But that's okay. Here we go. I'm going to stand for it if that's easier. I can't grasp UGA. Yeah, terrific. And last one. Okay. Prescribe. That looks good. The reflection. And because we're using flash extends out more than it does here. So we'll pick it up, pick up a game where the crossroad. 17. Live Shoot Light Painting Maxcine: Oh, I've just, we were just about to change positions and I saw this light here in this war. So what we're doing here is we're getting Maxine to hang on to this poll because she's up closer to the light. It's going to throw more light on her face. So I'm shooting in about 2.5th here at 800 ISO. And we should be able to just do that with this available like okay, so Maxine, if I get you just to hang on to it maybe to hens. Yep. That's it. The upgrade. Just looking straight up with that light. Here we go. Yeah. Nice. And still that's it. Great. Again. Okay. Good. Just one hand. How long? Yeah. That's it. Great. And again, one more just in case we get a bit of blur. Let's see it. Okay. Wonderful. Thank You. Guys will move to another place. All right. What we're gonna do here, we're going to do a little bit more light painting. We've got a really nice bench here with an arch window behind Maxine. So I'm shooting at four seconds and that's gonna give me enough time just to light her with the torch and to change direction. Do a couple of different lighting setups. Here we go. Agenda Okay. Press the shutter on like how the camera? Yep. Okay. That looks good. We've got ahead. We'll do it again. You say go okay when you push it. Okay. That's good. All right. Mike saying just get your turn and face turn this way a little bit more. Yep. Okay. All right. Now we might turn around and shoot down this way, I think because it's a nice background down there. So we'll keep you in the same spot and vaccine will just move our camera view point. It's great. Okay, that's good. So I'll just do a base exposure. See what my background looks like. Okay, that's good. Now I'm going to launch her from the front side because it's always good to figure out what you're gonna do before you actually push the shutter. Well, before Jen pushes the shadow. Okay, that's good. Next scene, machetes not in the shot. So when your religion It's okay. Alright. Once again, it's okay. Yeah. Yeah. I know because I want to try and get that stuff in Walmart. Do is move backwards and zoom in a little bit more. That will give me a better perspective. Maxine, can you sit on the front of the bench for me? Yup. With the legs out like that. Yeah. When you're ready to maybe Maxine, you look at destroyed his time at Georgia Cambodia? Yeah. Okay. I'll do a bit of a diagonal one now. 18. Live Shoot Backlighting Maxcine: I now got no idea what we're gonna do next. I'm standing here looking as if I know what I'm doing. But my brain is gone blank. Now it has an organolithium, my pocket of all the things that I want to do. So we're gonna do some backlight now. We're gonna put flushing behind Maxine to backlight her. We're going to only use that rim light behind and then we're going to use some flash front on the front as well. So we're gonna do a couple of flesh shots. That's okay. It would just turn your shoulders little bit that way. Yep. That's it. And if I spec that way, yeah. Okay. So European stick just next to the light. Pretty much. That's it. Okay. And we'll just do a test shot first. Got yet genuinely to IMUs up a bit higher, please, I want less on the floor and more Maxine's Hey, that's it. That's all right. You go. Okay. That's good. Stay there, guys. Okay. Once again. Yep. That's good. Plus one. So you've got the trend gown pass, but I didn't write mixing. Can you stand here in the front little bit for me on those fit together. And that knee across in front? Yep. Probably that name. I'll be better more than that because the way the split is here, That's it. Yeah. Ketose, NZ. That's good. Yep. Okay. Here we go. Okay. Can we do some hands up here here? I'm just looking at the camera here. Yeah. Okay. Good. Now, can you come forward with four steps once you have a cursor here? Yep. That's good. Yep. I guess that's great. Yeah. Great. 25s further that way. Yeah. Good. And tenure. I said I have the camera. Yeah. That's good. I like that here. Just push it back now. Yeah. Yeah. Okay. That's good. Um, yes. One foot forward, this one trial back. And just want you looking down at the grand behind you there. Yeah. That's it. That's good. Okay. Let's now just lift your head up and look at that way for me. Yeah. Right. Yeah. Terrific. Now, we might do some walking one's. Okay. But we need to mark that point because humans to pick over there, we'll put this leaf. The mechanics that is the point that we're going to take the shot and that's where I'm focused. So just want you to take a couple of steps, but you'll lift. Your right foot's going to be there. And then you're going to look at over there. Okay. Yeah, that's good. Focus when you're ready to do that region. So the right foot is going down on there, but biggest steps if you can. Okay. Yeah. When you're ready. That's all right. Trying to Tolkien the type. We're just looking at it that way or that way place. Yeah. The opposite foot is not an easy thing to do, is it? Yes. So we need those. Maybe start where you were, but take bigger steps because it looks a little bit tentative. You know what I mean? Okay. Even if you can just run a little bit, but as long as you just played it for around about there. Okay. That's it. That's okay. Don't worry about the foot. Would just keep going. I guess that's it. But we want toll and confident and yep. Yep. That's okay. Yes, that's better. Okay. But we want the other foot and maybe start on your opposite foot. Sorry. No, that's okay. That's good. Yeah. Okay. Yep. Nope. So I'll shut a bit too early, I think. Yep. I'm looking at the flesh and look at the fate, try to get everything together. Okay, go. All right. One other thing maybe that might help. When you get close to there. Take it and turn back that way to look over that way a little bit. Okay. So can you can read here plaintiffs so fear. So you're turning men to look what's back there, Maxine. Okay. Okay. Ready? That's good. That looked really good. Yes. Yep. Got it. 19. Live Shoot Maxcine Modified Flash: For these shots, we're just going to use a few different variations on how flash photography. We're going to shoot with bare bulb off-camera flash just with airspeed lots. Then we're gonna do some stuff with on-camera flash just to show you how we can modify on camera flash. And then we're gonna do some backlighting and some using some snooze just so that we concentrate that beam of light a little bit. So we're going to play around a little bit just in this general area and show you the differences. Let's try that, Maxine. Yeah, that's great. Can you face that way a little bit more here and see it eyes above the camera here. Yep. Great. And I just looked down corridor DNA. I k, That's terrific. Beautiful. Stay there. I'm just going to zoom in. Okay, here we go. Wellington, I just turn and face the camera. Just point your nose at the light. Yep. I'm looking at my head. That's it. Good. Tropic chin and just look at the grand for me. I think. Beautiful. Now I'm going to put the flesh on the camera, but I'm going to, I'm going to do a direct flash shot first and then we're going to diffuse the flesh. So I'm going to aim the flesh EDA reflector and bounce it back onto Maxine just to soften it down a little bit. Okay. Here we go. Maxine, just flush on camera. Okay. That's a flesh on camera shot. Now we're going to use a diffuser and we're going to diffuse this flesh a little bit. So I'm just going to grab the reflector out of the bag. Is going to continue to see. Okay, what we're gonna do here is I've got my flesh on top of my camera. We're going to name this flesh at the reflector. And that light is going to bounce back onto Maxine in a softer way because we've made the small light source into a large one and it's going to bounce back in a softer way. So I do need to change my position because the angle of this sludge not going to work very well. So I'm just going to move a little bit further forward in a tube that light up to Jen because we want this light coming down onto Maxine. So yep. That's the sort of thing we want. Okay. And I need to turn my flesh out brighter because we're losing a bit of light because it's traveling further. I'm going to zoom in a little bit so that we don't lose too much off to the side. And I'm also going to open up my aperture a little bit older, compensate for the loss in life that we get from bouncing this flash. Okay, here we go. Ready? There we go. That light looks so much softer than it did before. And all we're using is a speed light, flesh and reflector. Jane, can you come a little bit closer to me? Yep. That's it. And maybe aim it at me a little bit more. Yeah, that's it. Okay. Maxine, here we go. That's it. Good. Just turn it face a little bit. As great, Jen. Yep. Okay. Well done. That looks great. Now what we're going to do next is we're going to take the flesh off the camera. And we're going to the flesh through the scrim, we're gonna get just the reflected part of the reflected. We're going to take it off. We're just going to have the translucent part and we're going to find the flesh through the translucent parts so that it gives a nice soft light. So we're going to unzip that. Please. Just laid on the ground. You're gonna you're gonna do this. Just put put it on the floor, you'll be okay. So Jen, you're going to hold it. Maybe we need to get we don't want you in front of it. So if you hold it bedside. Yeah. We have a closer to Maxine return vertically and you need to be backed further, Scott, because we want to fill up this reflector. You okay with that? Okay. Terrific. You can see that setup. We've just got the speed light in behind the scrim or the translucent part of a reflector. The flesh is filling up that translucent part and a softening that light onto Maxine. Now we're going to move in closer. And that will make this light even softer on Maxine. So genuinely have closer. That's a little bit more. Yep. And you move closer, stay the same distance. Yep. Now, because there are flashes is a little bit closer, we're going to have to drop out exposure down a little bit because it's just going to be a bit too bright. Maybe you step back stake. Yeah, Let's see. I'll just show you one like this and you'll see just that little bit brighter because you've moved in closer. Yep. So we'll just drop that aperture down a little bit. Propaganda with eight. Okay, here we go. Lovely. Christ the camera, Maxine. Oops, and we go. Yeah, beautiful. 20. Restricting light spread : So we're gonna do the opposite now. We're going to restrict the size of the flash beam we're going to use. I'm just going to use this potato chip packet. Can put it at the top of my flesh. Because it fits on here pretty much perfectly. And with my flash fires through here, it's going to restrict the spread of the light. I can further restrict the spread of the light by using this little honeycomb grid over the front of that. And that's going to restrict it that little bit more. So we're going to do both. Now this is going to just give us a small pool of light maxine so it can shoot from a little bit greater distance and you'll just look like a spotlight effect. So we give that a go and I'll show you what it looks like. And just judge for yourself where that pool of light's going to fall. You're yeah. Great. Yep. That's good. Okay. Perfect. Yeah. Yeah, that looks good. Okay. But we have to get you to look at it that way, Maxine, because you want to get that nice loud on your face. The front foot by a little bit more frequent. Yep. That's it. Okay. Here we go. Okay. Once again and see it. Beautiful. Maxine, can you put some here? I've already here over that side for me. What I'm doing here is I'm just using that the darkness of Maxine's here to highlight that side of her face where that we may not be able to get that because the way the winds blowing. Okay. Alright, Sierra. Yeah, that's okay. Here we go. All right. Good. Now, stay. Can you move further into the wall? So it might be slightly even more radical? Yep, that's it. And you keep looking at WiMAX Shania and say, Okay, that's great. You can see how that light is so much more radical now. Maybe tilted down just a little bit safe. Yep. That's it. Here we go. Yeah. Yeah. Beautiful. Saving get the toe that foot on the ground like significant. Yep. That's it. Okay. We go. Yeah. That looks terrific. So we're just rim lighting Maxine pretty much we're getting that really angular light on her from that snippet, it's concentrating that light beam to a smaller area. Okay, So now we're gonna do it slightly differently. We're going to aim this flesh directly at Maxine. So we're going to have her against the wall with this very tight beam of light. So what I'm gonna do now, you've got the flesh on the same page because we're the same distance from Maxine. I'm going to put this snoop with the flash directly over the top of the lens. I'm going to shoot straight into Maxine's face. That's great. It gives us a really full on frontal light that's got a little bit of vignetting or any outside because of the concentration of that line. That's good. Yeah, That's great. Or it's very in your face, sort of a ring light type of an effect. I'll do 108 the lens just so you can see the difference. It's going to be a little bit of an applied. So might look a little bit spooky, but that's okay. Here we go. All right. You can say, I haven't gotten in the right spot, so we'll do it once again. Here we go. All right. Yeah, that's not completely lined up, particularly is coming a little bit up on Maxine. That gives us a different sort of an effect. 21. Jiggling the Camera: All right, For the last shot of the night, we're going to use some of this red LED to their council has so thoughtfully placed in these seats. So we're going to use that to help to throw a little bit of a highlight in the shot just to make it look a little bit different. And we're gonna do a little bit of movement with the cameras and camera movement. So they're the two shots that we're going to finish off with. You might have noticed that we've got an LED here along with the flash that we've been using. That's simply so that we can get exposure on a video. For the, for the video of this class. It doesn't affect their flesh exposure at all because the LEDs and much less powerful than the flash. So the LEDs are just there so that our video can come out properly. It's not affecting our exposure at all. Oh, yeah. Okay. So we need to be careful here that our flesh doesn't override the LED light that's in the seat. So we tend to fleshed down a little bit. My aperture has been reduced a little just so that we don't overpower that LED. Okay, here we go, Maxine. Lovely. Yep. We might hang on to that train again. Maybe pick it up a little bit more so that it it blows a business suit more visible. That's okay. Yeah. I have the same trouble with my hair. Yeah. Lovely. Lifted up a bit higher. Yeah. I'd say delicate fingers. Lovely. That's good. Now with your feet, can you angle your legs back? Yes, that's it. That's great. Maybe one the electron a little bit further. That's it, right? Yeah. Yeah. Just throw it up and then look at me. Yeah. Okay. All right. Okay. Yep. I'm going to change position. More prominent. Okay. Good. That's great. Now turn to look over that stage belly and RSpec to me. Yeah. That's great. All right. Last couple I'm just gonna do some jiggly one, so we're gonna get sustaining out here. My kiss you actually walking towards me. Okay. Steve, you're going to be walking walking backwards as Maxine moves? Yep. Just as foreign Maxine. Just let me know if I'm going to run into anything because I'm working backwards. So we're going to do a bit of camera movement here. I'm going to set my shutter speed to about a tenth of a second or so. And the cameras just going to be moving a little bit. The flash is going to freeze Maxine in the shot. And the movement of the camera over that longer exposure is just going to give a little bit of a jiggle today's lights in the background. Okay. So you just walk straight towards me just looking. Between main state. Okay, you ready, steady, go. Okay. That's cool. That's good. We'll do it again. Yes, please. All right. When you're ready, go. Okay. Alright. Here we go. Okay. Good. That's a bit better. Here you see the vaccine just said that she learned to walk from me. I'm just repeating what she said in case the microphone didn't pick it up. You'll notice that we both walk in a similar way, actually. Where do you ready mix? A yep. Keep going. Yep. Okay. One, what we're gonna do over here in front of the station sign. One could shop here a little bit more so I can get the sign in the shot. We're not going to move this time. We're just going to pause you there. I'm just going to shoot with the station up in the background. So I'm still going to still going to do that slow shutter speed. All right. Ready to go? Just looking straight out that way as Robbie said. Yep. Yep. Yeah. Right. Yeah. Okay. You're going to shake my bum. And now if I can do this, this Sandra. Okay. Here we go. Well, that's a wrap for today. We've done some really good stuff. We've, we've tried a whole lot of different techniques as you've seen, have looked at the images that accompany this video. And you'll be able to see the results you can get. We haven't used very expensive equipment or we've got a spade lights and reflect and a camera. So all you need to do is think about your exposures, think about your lighting, and try and get out and try it. Otherwise, you're not going to be able to learn this stuff. So I'll see you in the next lesson. 22. Live Shoot with Indi at the Bridge: What's pretty good at that time, had that pair up here, that looks good. Like I keep looking. I have that y indeed. Yep. Great. Same thing. Here we go. Yes. Maybe Hands up for debate. Yep. Okay. Yeah. I'll do one more like that, but not now one hint there and forth. Let's see. Yep, good. That's awesome. Just chop. Can you shuffle that way a little bit? Yep. Yep. Yep. Yep. Or yeah. Just change this process each time It's good. Yeah, I loved that low angle. All right. Terrific. That's good. Now we'll just set out the other side. Yeah. That's cool. Right now. But came with Dan that way. A little bit windy? Yep. Yeah. I just want to get a bit more of that blue in the shot. Just look at my hidden in addition shots from Danilo. Good. Okay. That was really good. Study. Further so that I can shoot a little bit more telephoto. So yeah, that should be good. To get that face towards the light a little bit. Yep. Okay. That's great. But that moon coming up in the background. And right, and we should be able to get a proper exposure of that moon. So many shooting a ten seconds. That looks great. Perfect. One more. Okay. That's good. Now I want to get a bit more reflection in the water. So I'm want move down closer to the water and you can just move down there as well. Yeah. That's like I don't want you to fall in. Well, not yet anyway. I can. All right. That's good. I'm quite happy with that. You get this moon and the sharper need to drop my aperture, right? Dan said I've got a greater depth of field and focus on the bridge. And just shoot like that. Shinning. You'd have 16, which should give me reasonable detail on the moon, as well as detail in that bridge. 23. Live Shoot with Indi on the Cycleway: All right, so we're here for our second sheet of the NADH. We've already done a shoot down at the bridge with indie. We're going to do a shot here on this Soccer white because you've got all of these little reflect the poles in the background that you can see behind me. We're going to play Cindy about where I am in the frame and we're going to wait till the cows come along. Their headlights will like these reflect the poles and then we'll get the tail lot's receding the unpause them. So we get the orange or the yellow of the reflective poles, the white outfit that in these codon. And we're gonna get those red tail lights as the cars go through. So it sounds really good in theory. We'll see if it works in practice. Okay? Yeah, I like that. All right. We might get you up here a little bit more. Let me worry about having a slow day that people might make a judgment about your mental capacity. But I quite like a quote like this slide. We'll just wait and see. Here we go. Probably get the sign blacks driving past a few times. It's good. Even get a few cars in the shop. Launching up reflectors as much as I would like, but still, I think that works. Okay. Thanks this framing a little bit. Okay, we go again. Why? I don't complicate things too much. That's great. End. Here we go. Good. A lot from the headlights coming the other way, which is good. Here we go. You'll cover more and that'll be it. Yes. Try to keep still. Still. Ndi should be telling you how long it takes, takes five seconds. Alright? Okay, I think that'll do us. 24. Live Shoot with Indi at Honeysuckle: So I've zoomed in here with a telephoto to make that moon a bit bigger. I just kind of balance a lot from the flesh and the lot with the moon. So we'll just try that. I'm that had about her waist. Yep. Okay. Yeah. Now that's good. So again, it all right. Now, once again okay. All right. That's looking good. In the canoes. Turn your face towards the largest foci the top regions head. Yep. Okay, that's good. One more. Genki, get upaya. That's it. Alright. Yeah, that looks great. Okay. Now Wendy, can you get Dan? I'm just going to shoot a couple of plights, which means I'm going to shoot with a different exposure to get that background. The way that I wanted to say you can move. I have any Jin Di need you there. So I'm just going to slightly on my shutter speed, not changed my aperture, 1 15th of a second. So I'm going to slot right down to 1 second. And that will give me an image that I can, I can merge with that shot of India and the moon. We want more. As long as I shoot on a tripod, everything's going to line up. And that should be fine. 25. Live Shoot with Indi and Art Works: All right, so we're doing a shot here using these blue sculptures is beautiful. Blue sculptures in the background where incorporating some tile lights coming past as the canon comes past, we use a 2 second exposure like we're gonna do now, Jen. And as the car goes past, it gives us a red light in the background, just so that we we didn't do that one because Jen just had the flush against the belly, so we just lit up Jen that time, but she'll be ready for the next one and we'll get a good shot. So incorporating the blue of the sculpture, the rate of the tail lights and the warm light all around here. So he comes a big group of girls, so I might get beaten up. Sorry, we don't say is after tonight, you'll know what happened. Okay. I'll just do a test shot. We might have to take that DOM. Actually, I quite like that. Yeah. Maybe just get back a bit, Jen and turn it up a bit. Okay, We'll try that. Here we go. I'm gonna make my shutter speed a bit slower, so we get a bit more cartel light movement. So I'm going from 1 second down to four seconds. So you can hold fairly still for that time. Catch you Indy. Here we go. That's cool or more. Just going to get a check. This is pretty hard to India to stay still for that whole time. Still in a pretty good job. One, take it in two seconds, make it a bit Asia. Okay. Here we go, Indy. Now the blue sculptures are lodging and dimming all the time, so we just got to catch them when they're at a maximum and a car's coming past. And indie looks good. So I gotta get those three things altogether. And you gotta get me to push the button at the right time to. 26. Live Shoot with Indi on the Warf: Okay, so what we're gonna do here, we're going to shoot an available Lotz shot of Indie up on the top of the stairs. She's going to be lit by that straight line. But because the light's a lot lower than we would normally use in the daylight. I've increased my ISO up to 2000, which I need to do because the lights just too low to get a proper shot without it. I don't want to use flash because that'll introduce more artificial sort of failed to the short. And because that light's coming from up above, we need to get indeed to look up so that we get that nice loud on advice. I'm shooting at ISO 2001 tenth of a second at F 6.3. Okay. That's gradually all right. Yeah, I love it. That's good. Okay. Yep, That's beautiful. I'm just going to move around so that spotlights behind your head. Yeah, that's it. So again, a highlight in these hair using that spotlight from the back. Okay. Here we go. Yep. Once again, nothing still yet. Stay there. That's it. Good stuff. Okay. Yeah. That's looking good. All right. I'm just going to switch to a vertical format so I can get that lodge in the shot as well. Okay. Let's gradually here we go. Yep. Yep. Okay. Just alter that a little bit. Just tidying up a composition a little bit. Okay. Here we go. Yep. Just took that head back, looking up. Yep. Good. One more pose. Something with different yeah. You need that. The chin up here. I said. Okay, that's terrific. We should add a couple more. Probably falls in the harbor. I want to get a shot of it. And you go. Okay. That's great. Oh, done. And move on. We could get a shot of Indie pushing the nose up against the glass them, I look really cool. So heading back down to a 100 ISO. Okay, Jen, ready? Here we go. Yep, that's good. Zoom in a little bit more. Cylinder. Just turned to face towards the flush. Here we go. Yeah, that's good. Jen, drop again to quote a pair or whatever. And indeed just back a little bit, I want to be able to see that reflection in the water. Okay, here we go. Yeah. Good. Can you turn away from it and then look back over shoulder? Yep. Yep. Okay. Yeah. Could you a couple with that the jacket, please. Okay. Yep. That's perfect. Yeah. Here we go. Good. Background in front again. Maybe near crushed in front. Yeah. 25000, little bit of hair sticking up on the side at the back. Yeah. That's it. As good. Sometimes I get a little bit to the hair sticking up to push that knee across a bit. Yeah, that's a good look up at the rich people in the apartments here. That's great. Okay. And one last one. Yep. Alright. As good. For move on. 27. Live Shoot with Indi and Mural: All right, What we're gonna do here, we've got this big mural on the wall behind indie. We're going to light Indie against that wall, but we're going to have our flesh coming from Danilo, which means it's going to throw a large shadow of Indie onto that mural in the background. So it's not going to be particularly kind like an indie. But she needs to look a little bit gruesome every now and again when we do these shots though, she looks a little bit scary. So we're going to launch it from below and try that big shadow on the background. I need to darken that, that mural down a bit. So for chicken settings, take my shutter speed down to a 20th of a second. Can we get you further back? Yeah. Okay. That's getting a bit better. Okay. Back further still. Yeah. That's it. Okay. That's looking better. Now. We'll just get you to move across a little bit so you're right in the middle of his eyes. Her eyes, whoever it is. Yep. So feet apart? Yep. Hands on hips and maybe some big hands upon heads and stuff like that. Okay. I'll just check this flash to see. Got it right. Okay. That's cool. Now Jen, to remove that fleshing closer, please. Because you want to get that shadow a bit bigger? Yeah. Yup. Okay. Try again. That's working Ribera. Alright, so we have overexposing be a little bit, but it's not enough there that we can't pull it back later on in post-processing? I don't think so because we need the power to get the to get the shadow here. All right, that's good. I'm just going to switch to a vertical format. Zoom in a bit more. That's looking good. Okay. So yep. Couple of those poses good. Maybe hands on hips and stuff. Yeah. That's it. Yep. Feet apart. Long wipeout. Yeah. That's it. Good. Yeah. Great. Slipped down at the flesh. Yep. Maybe lean forward on your knee a little bit. Yep. Okay. All right. That's cool. Do that signpost is shuffled across that way a little bit. Yep. That's it. And we go. All right? Yes. Shuffle back that way. Tiny. Tim. Yep. All right. Try that. I could just move the flesh, but it's easy to get you to do it. That's looking great. Okay, One more. All right. We've now that it's good, you want to come have a look? Yeah. It's it's flashing. You're just telling me that the highlights are on overexposed, but I can fix that up. So I think moving in closer like that worked really well because the face looks really big here. I can say everybody likes my shots. That's good. All right. So just to a test shot there and see what exposure I've got. Dropped my shutter speed down to 1 tenth of a second. Just do a test. And it's still looking a little bit dark, but I don't want to have a pair of those lights. I don't want to have those lights blow out down the bottom, so I think we'll leave it at about that. It should be pretty good. Well, we need to do is light AND, and the basic thing that we do, we know when we're sheeting flash camera settings, determining our background and our flesh parallel determines the lied on their person. So I've already established my camera settings 1 tenth of a second at 5.6. So ISO 800. And we're just going to vary a flash power to get the light on Indie working well, so we'll do a test shot. Eugen. We go. All right, so that flash pairs a little bit too bright, so we'll just turn it down a bit. And then we should be right. Okay. Yeah, he would guarantee. That's great. And we've got a perfect pelican poo right in front of your foot. So what it is? Yeah. Yeah. Okay. It's not easy to get pelican pure and all of your shots, but I'll try as hard as I can. Okay. Once again. Okay. All right. That's great. I love that. Actually. I'm not do a vertical shadow that yep. Now I'm going to get you to come forward, please. You've got empty moved to bill a little bit further forward because I want her bigger in the frame. I'm shooting up at that building. So she going to look really grand. I don't want us to look down at the camera because if she looks down at the camera, Horizon going to be closed. So I wanted to look above my head out to the building across there. Yeah. Okay. That's great. Here we go. Yep. Just turn your facial Costello. Yep. Okay. Good. That's it. Okay. Can you turn your shoulders that way for me and keep your face that way? Yeah. Terrific. All right. That looks great. And that'll do us I think that'll wrap us up. Yep. Good stuff. Thank you for that can run through some of these Fourier English so you can have a look before you go. Really cool shots. And there's one spec against the war. 28. Your Project: Now your project for this class is simply to produce a night photograph. Use one of the creative techniques that I've explained in this class, or come up with your own, or simply just shoot a nice likeness of your subject at night. You can be as simple or as complicated as you like, but please explore some of these options because it will get your creative juices flowing and it'll get you excited about photography. We need to get excited about photography because it is an exciting medium. So when you've got your result, when you get a result that you're happy with, please post it in the project section with a little bit of information about how you did it, what you did, maybe what your camera settings are. Also, if you've got any questions, post them in the discussion section, I always love to see discussions in there. I'll answer any questions that you might have in a love to see the results that you gotta get. So please get into this project. I'd love to see what you come up with. 29. Night Portrait Wrap-Up: Okay, that's it for this class. Thank you for watching. I hope you've enjoyed it. I hope you've been inspired by a lot of the images that you've seen. And I hope you've learned a lot from those videos that we did of the law of shoots with India and Maxine. Now, do yourself a favor and get out and try some of this stuff. We have a nighttime every day. So whenever you get the chance, get out and try and shoot some night photography, Just try it in your backyard if you're not sure about where to go or what to do to start with. But the more you do it, the more you'll become familiar with it, and the better the results will be. So photography is a great medium to get out and do things that are different and creative. So please post some of your results in the project section. And if you have any questions, put something in the discussion section, I would really appreciate it and I really love seeing your images. So thank you for watching and I'll see you in our next class.