Seeing The Light as a Photographer and Artist | Photofonz Media Ferdy Neubauer | Skillshare

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Seeing The Light as a Photographer and Artist

teacher avatar Photofonz Media Ferdy Neubauer, Sharing the Passion of Photography

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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 35m)
    • 1. Introduction

      2:43
    • 2. Characteristics Intro to light

      1:02
    • 3. How Light Quality Affects a Photograph

      10:58
    • 4. Direction & Intensity of Light

      12:31
    • 5. Sweetlight

      6:03
    • 6. Late Afternoon Photo Shoot at Lake Pine

      4:22
    • 7. Subtractive Lighting

      5:38
    • 8. To Post Process or Not to Post Process

      5:02
    • 9. A Story about Ansel Adams

      4:48
    • 10. Organizer, Viewer and Easy Image Editing Program

      2:15
    • 11. Powerful Image Editing Pt 1

      4:58
    • 12. Powerful Image Editing Pt 2 - Portrait Enhancement

      4:11
    • 13. Image Editing & Effects

      1:57
    • 14. Window Light

      5:23
    • 15. Backlit/Double Light Technique

      10:25
    • 16. Painting with Light

      5:35
    • 17. Your Class Assignment & Final Words

      6:55
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About This Class

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In photography, light is essential in taking a photograph. Once you begin to understand light and lighting techniques, your photography can improve drastically. It is my belief that the great photographers of our time saw beyond the common place. Whether they were landscape/nature photographers, photojournalists, portrait, wedding, architectural photographers and any other genre of photography I may have missed, you can bet they mastered and knew how to work with light. That is why they were able to create the type of images they did.

In photography, sometimes the way you see, fine tune and capture light, can make the difference between a snapshot and an award winning image.

In this class you'll learn:

01 Introduction
02 Characteristics of Light - A Brief Introduction
03 How Light Quality Affects a Photograph
04 Direction & Intensity of Light
05 Sweet Light
06 Late Afternoon Photo Shoot at Lake Pine
07 Subtractive Lighting
08 To Post Process or Not to Post Process
09 A Story About Ansel Adams
10 Organizer, Viewer and Easy Image Editing Program
11 Powerful Image Editing Part 1-
12 Powerful Image Editing Part 2- Portrait Enhancement
13 Image Editing & Effects
14 Window Light
15 Backlit/Double Light Technique
16 Painting With Light
17 Class Assignment & Final Words

Learning to see and master light can help you take better photos and make your photography so much more enjoyable too.

Meet Your Teacher

Teacher Profile Image

Photofonz Media Ferdy Neubauer

Sharing the Passion of Photography

Teacher

Ferdinand Neubauer (Ferdy), founder of “Photofonz” Media wanted to give photo enthusiasts an opportunity to further their knowledge and passion in photography through on-line education. He shares his knowledge and experience from the many phases of photography he has been involved in, from his part time start up when he booked wedding and portrait assignments from their dining room. He built a full time home studio, then moved into a commercial studio space. He operated his studio there for twenty more years before selling his studio.

He now spends his time doing occasional assignments and education in the field of photography. He also photographs jewelry & small product photography for his wife.

He enjoys pickleball, hiking, swimming, physical fitness and walk... See full profile

Related Skills

Photography Creative

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Transcripts

1. Introduction: Light is what gives photography it's magic. It creates the beauty, it sets the mood and tells a story. Many other great photographers had this skill, knowledge, and creativity to not only see light, but we're able to control and modify the light that was needed to create their photographic masterpiece. And whenever photographing in situations where they had no control over changing or modifying the light. They knew they had to wait until a lighting and a timing was right. Without light, there is no photograph. There is no beauty. To the untrained eye. It goes unseen. While a photograph has many ingredients, take away the light and all the other ingredients are lost. Take composition. What good is composition? If a cannot be seen or beauty, if it goes unseen? When one starts to truly see light and misdirection and impact, then one can truly begin to understand and master light. Hi, I'm 30 new Bower. And thank you for joining me in this class. I like to go over the essential ingredient that light can be to your photography. Whether you're photographing a, a still image, or you're doing a movie project, or even capturing your very own oil on canvas masterpiece. In this class, I'm going to start by going over the three characteristics of light and how it affects year photography. And we'll talk about what's known as sweet light. And then we'll go through an outdoor portrait session where we're going to use some light modifiers and also as something that's called subtractive lighting. And that's something that many photographers don't know about. We'll also look at several ways that you can use window light, backlighting and even double IT. Then we'll close with painting with light. Something I think that you're going to find quite interesting. When you complete this class, you didn't have a much better understanding and appreciation for light and how it can send that many moods that you wish to capture. So let's continue with a brief introduction to the characteristics of light. 2. Characteristics Intro to light: And we're going to start by looking at some photographs and going over the three characteristics of light. And the first one would be the quality. And by quality we're talking about the brightness and contrast, the solve and diffuse light that's gonna give the quality the light. And then you'll see the mood that it sets as well. And then the second one will be direction. And by direction we refer to the position of the sun or the light in relation to the subject or the object that you're photographing. And then the third being intensity. The intensity would be the brightness of the illumination. And these three characteristics of light can help you set the mood in your photograph and help you tell the story and just add impact to your photograph. 3. How Light Quality Affects a Photograph: So let's take a look at some photographs that may have been taken when the lighting was least desirable. And to me that would be like the sun overhead like around midday, you'll see the sun coming in directly overhead. And that sort of lacks the the impact of the side lighting or the angle of the light coming down. It's really bland and it's kind of on the tractive for landscapes as well as portrait photography. So this is kinda of light that you want to avoid courts, certain situations. If you're at a certain location, you may have to make the best of it, but when you can to avoid this type of lighting and say you're doing a portrait at that time. Not just say you have three or four portrait scheduled and you have no control of the lighting. Well then there are certain things that you can do, of course, to enhance that. And we're going to look at how you can look at light and make your changes as necessary. Just for example, say if you're out at that hour and you may want to look for the shade area where you can put your subject in the shade to avoid this type of overhead lighting that really has no attraction. And of course, you can also use Grimm's or put a reflector over the subject. But let's just look at these landscape images here. So this one here of a castle here. I was able to photograph this castle on different days and different times of the year. And this particular case here, we're about little before one o'clock in the afternoon in May. And then most of the light is coming in from overhead and just a little bit to the side, but you can see it's coming more or less straight down and then it lacks giving us that lighting that's coming in and a lower angle so you could see you all it does light up the roof. The shaded areas are kind of lacking in detail. And looking at the next image here, you can see that this was taken on a partially clouded day. So here I waited for the sun to go behind the clouds so I was able to get more of a soft light. Saw flight can be a nice way to just the fuse everything to just soften up. It's just like shooting with a giant soft box. Everything turns off. And yet you can still see some detail. And then looking at this image, you can see that sun's coming in from our right side and of course a little bit higher up. But yet we're coming in from the side and it is sunny. So we're getting a little bit more contrast and then we're picking up a lot of the details in the stone here of that castle. So sometimes that harsh lighting can be an advantage, especially if you're looking for detail. And here's an example. I was taken around little after six o'clock in May. And then we can see that the sun is coming more or less straight towards as Castle area. It's not giving us the detail that we saw in the last photograph here. It's being kinda more or less flat lit. It's coming a little bit from the side, but it's coming in at an angle that's kind of lighting everything flat. So we lose some of that shape that we saw in a stone from the last image. And by looking at the last several images, it's a good way to point out, or you can learn and to look for the light that's coming in and its direction. And that's going to help you set the mood in the photograph. So if you're going to be photographing outside on a very cloudy, overcast day. You're gonna get nice soft lighting. It may be easier to photograph in many different situations, but then you're going to lack that missing light. That may be a little bit better later on in the early evening or late evening when you get that beautiful solve for that sweet lied coming in. But this is generally a good overall time to photograph without it affecting too much contrast who many harsh shadows as compared to this particular image here, which was taken on actually beautiful cloudy day. And this was Snap actually when the sun was out. And this was in the afternoon, about two o'clock in September. And you can see the beautiful, dramatic clouds. And even though it's kind of early, we do have a little bit of light coming in from the side. You can tell by the shadows. But this would have been even better if I had been there later on that day, maybe, who knows, three or four hours or if not more later when he get that beautiful, dramatic side lighting. But the thing that helps make this photograph is the dramatic clouds here. And next we have an image where we get that beautiful, what we so called a sweet light. It's the golden hour light, either sunrise or sunset. Sometimes I'll charges schedule a portrait around that time. Or if we're doing an event, say a wedding and a light turns sweet, I just asked them if you want to go outside and I explained the beauty of the light, and they usually want to do it because obviously the reason I figured they'd hire us in the first place because they saw some of our photographs and they like what we did. So the duties types of images, you have to be there at the right time. And that was the case in this particular photograph here. It was less than a half hour before the sun was setting because I did check. And this was taken a little bit before eight o'clock with the sun setting at A33. So we were able to get some beautiful sweet life. So we did do a few photographs and then we also did some with their family and we just stayed outside for a little bit not to take too much time away from them, but it was the right time and the right place to get these photographs. And here's another example of this engagement in portrait of a couple on the beach that we drove down there specifically. So we could do some late afternoon and possibly some light coming in from the side. We couldn't exactly get a sunset because of the location of the beach, but we did get that nice, sweet light here. This was taken about 630 in the evening and the son did set at 649 just about 19 minutes. This was taken before the official sunset. And then here you can see that beautiful golden hour. And this particular one was taken during a sunrise. It was a photograph taken of my wife back in the film days. And I was using a 35-millimeter contacts camera. And we had a lot of clouds coming in and you can barely see the sun on the left side peeking through the clouds. But it was a sunrise. And that particular bird actually was just right there at the right time. So this was no photoshop work. This is the way it is on the negative. And I was using a high-speed film, I can't remember, would film off hand anymore. But you could see some of the grain texture on this very early in the morning. I'm not sure about the time, but again, we had that beautiful, soft, sweet light. And when you're out and about, take a look around, especially like late afternoon, maybe early evening, and take a look at that sidelight. Here's an example of a wedding that took place at six o'clock, and I think this was done about 618. You can see a beautiful side lighting coming in, highlighting the hair and the bridesmaids gown and a flower girls gown and even the bride's avail. It's just beautiful lighting that adds a lot of dramatic impact to your photograph. In comparison to that flat overhead lighting, which is really boring, even though it's contrast the, but yet it lacks giving to photograph is shaped. So get in a habit of looking around and just take a look and study what the light is doing, whether shadows are and maybe what you can do or change your position to change that image. And as the sun gets lower, you could pick up a lot of detail in what it is that you're photographing. You can see the tracks in the sand. And again here you can see that the light now it's coming very, very low at about 45 degrees or so. And then you can see those long shadows. Those long shadows can really add a lot of impact to your photograph. And this was done a little before six o'clock in November. So the sun was starting to go down and gave us that beautiful, dramatic side lighting. And another image where we can see the dramatic lighting coming in from the side as a, just as a lot of shape to the waves and then look at the footprints in the sand. Now if this was overhead lighting, you wouldn't really see much of those footprints. Or even the ways for that matter, it would be very flat looking and not really interesting at all. But by using this side lighting, you pick up and you set the mood for a really dramatic scene in your photograph. This would've been so nice if I would have had a couple of there and I could have photograph them on this particular beach by the lake. And now we can see the sun and getting a lower about six o'clock, we're starting to get that sweet light. And you can even see it in a reflection here on the lake, were starting to get that beautiful golden hour light. And then as a sunsets don't leave, stick around. And that's when you get some really beautiful photographs. As you can see now we have a lot of color now coming into the sky and because of the Sun's backlighting now we're getting the trees more in a silhouette because they're more in the shade now. Well, we get a lot of beautiful color tones in that sky. And then you can see the golden light as we continue. In a few minutes, the light turns even more golden and we get some beautiful rich colors at that time. And then all of a sudden you're going to notice it's going to start to fade. Things, start to go a little bit dark. We're gonna start to lose all that color. So again, get into habit next time you're at the beach on vacation or anywhere, even not to eat. Look around and if you see somebody may be sitting in a certain area with a lighting is really beautiful. Take note of that and see where it's coming from and check the highlights, or vice versa. If you see somebody and allotting age, really terrible. Make note of that too. So you don't want to emulate that. So you want to concentrate on finding the good life that can help you set the mood in your photograph. 4. Direction & Intensity of Light: Two important characteristics of light that can really help you set the mood and you photograph would be the direction of light, where it's coming from, side, back, front, and also the intensity of that light. In other words, how bright is that light illuminated? And that can really those two together can have a big impact and you photograph. So let's take a look at some images and we'll see. So let's start by looking at a recent family portrait. And this was done November 26th, little before at three o'clock, about 255. And I chose this particular location and spot because I liked the way that sunless coming in. Although it was kinda harsh, I still like those highlights that I was getting. The sun's coming in from a little from the back and to the side. And one thing I do want to mention in our particular country and area, the sun actually later on during the wintertime, from June, it starts to angle more to the side. So if you notice, that's why you have some really bad lighting more in June where it's coming from, the sun is actually overhead more. And then I believe it's after June 21st, the sun starts to angle sideways more. So that's how you get those neat long shadows sometimes that helps in addition to, of course, later on in the afternoon or early evening. But so I did want to point that out because you do ask some really nice light going on in the fall and even in the spring. One thing I do want to point out, although it really has nothing to do with lighting, but I think it can help you. I just wanted to give you some words of advice through my experience and doing portraits. When you're working with young families and there's children involved, especially young children at this age. And you're working with animals also, like in this case, we have a beautiful dog here. You want to get in the habit of being prepared and working very quick because many times you only have a split-second, a second or two sometimes just to get that expression or to get them looking at you. So you might want to bring along maybe a little toy as squeak or something to make noise. In this particular case here I made a noise and thing I whistled or I'll jump up and down anything to get their attention. So as soon as you have their attention, that's a good time to take your photograph. And I always tell the parents not to look down at the kid's eyes were taken the picture when they're looking at me. Of course, there's certain times when I do want them to look at their children or each other. But because many times if I'm doing something stupid, del, look over at their kid to see what their expression as and sometimes that's okay. But I want to make sure I get at least some where they're looking at the camera. So then we come in a little bit closer and then you can still see those nice highlights on the side of a lady here and a little bit on the gentleman side. In addition to using the natural light that was there, I also used a reflector on some of the close-ups And then I was working alone here. So on the full lens, I used a Nikon speed light flash unit with adult diffuser on fronts, so that was used as a fill and the brighten up the eyes a little bit. But here I was using the sun as a kicker light as he was coming in from the side. And notice also that on the close-up portrait here, the lens I was using was my 70 to 200 millimeter f 2.8 lens. And for the closest pair, I zoomed all the way to 200 millimeter. And because there were three of them, I did want to make sure that I have enough depth of field in case there are moving around. So I get everyone in focus and I focus on the eyes by I can't remember who it was that I focused on here, but I always tried to focus on the eyes. Possibly I may have focused on the baby here. Didn't have the aperture set to at 4.5. So I get a little bit more that the field, instead of risking someone being out of focus and shooting at f 2.8 when you're shooting wide open, by the way, say for instance, in my case I have to 0.8. Or if you're using a one-point for lens, you want to make sure if you doing a couple or a group of people, that they're on the same plane so you get them all in focus. If you had somebody a little bit front or someone a little bit back, then you're going to have a situation where someone's going to be slightly saw. So just keep an eye on that. That's part of the eye of the photographer with a combination of light. So then I ask them to have a seat on the blanket in a shaded area that I've found here, put them all together and you can still see that natural light coming in from the side a little bit and from the top lighting the hair, the light that's coming in is very diffused there and it's a lot softer than the other one was before. And I also use my flash as a filler just to brighten up the eyes a little bit. Normally I prefer using a flash a little bit off camera to the side. But I was working by myself and how to work fast. So I was using my Nikon speed light set on top of my Nikon camera and the same soft location, and I just had them interact with each other a little bit more here. And again, using my Nikon speed light as a fill. So we had the family of three standing up. And again, you can see that light coming in a little bit. You can see it on the gentleman's shoulder coming in from the side. And again here it's saw because it's been blocked by the trees more or less. But you can see the sun backlighting the plants behind them. So that was kind of a nice separation and various soft lighting. And again, using my flash as a fill. So then I wanted to get one of the two of them together. So we have very strong highlights coming in from the back, lighting those plants with just little bit of hair light. In this case, you can see the light is a little bit behind now it's coming in a little bit more from the back at this particular location where I stood them. So let's break it up and we'll go into a bridal portrait. And this was actually before the wedding. And I had the bride and asked the bride to sit on the chair outside on the porch. And when we have a porch, I love photographing with anything like a patio or a porch where there's a roof overhead because it's a form of subtractive lighting, which takes away some of the light in the eye sockets. So it's softens that up quite a bit. And I just did the chair, so we had the right amount of light coming in a little bit from the back. You can see that the veil is backlit and we have a little bit of light highlighting the hair and a little bit on the shoulder. And of course we had to bring a reflector it and so I have my assistant hold the reflector towards our left. And you can see that this is a two-thirds view and the light's coming in from our left, highlighting that. And here you can see the lighting ratio. It's a little bit brighter as we're looking at the bride, our left side, as compared to the right side as we're looking at the bride. And this just gives a little bit more shape to the face. And this particular photograph has already been retouched and it also looks nice as a black and white. Here's an example of the strong line coming in from the back, and this was also done in the fall. And you can see the dramatic shadows here and also the highlights in their hair. And then on the next image is the same general area but a different tree, but we had the same effect. We have those strong, long shadows coming in and then we can see the backlight. And it's also highlighting their hair. And I had to use a fill here. Now, when I do use a fill that's used on camera, I'll either set it to minus1, sometimes minus2. So it depends on the effect that I'm after, but generally in that area, minus 12 minus two. So let's say you wanted to take a photo of a half. So this is actually our house. And I wanted to do a couple of photos in this particular one was done towards the beginning of May. It was 921 in the morning and the sunlight's actually coming in from the back yard here. So the front of the house is not in the shade, so we get a kind of soft lighting. Although I'm not crazy about this, it's kind of flat looking. Although we have a little bit of sunlight coming in, we can see it from the back on top of the trees and the shrub in front. So I do want to point out the good and the bad. This one here was actually taken later on in the afternoon. This was 421 and we have a lot more side lighting now. However, it's hitting some of the areas of the house and it's kind of being washed out, it's too bright. Were the porch area is kinda dark. Again, I'm not crazy about this particular time and they with this particular harsh lighting either. So the point is that you want to make sure that you photograph whatever it is that you are photographing and that you there at the right time. And in this particular case here, as we look at the next one, this was done actually earlier in the afternoon to ten, and this was done also in April. But here we can see the light coming in from the side. And of course I did change angles, but I just like the way I'm getting all those highlights on the front of the house here and the shrubs. It just seems to give more dimension to the photographs. So out of the three I showed you, I think this was the nicest one that I like anyway. Alright, so let's go back to photographing people. And here we're photographing any open area. And this was done in a wintertime, actually in January as a beautiful day actually. So we're able to go out, sigh with no particular problem, January the 16th. And we can see the sun coming in from the side. And remember now we're in the wintertime so the sun is still low. So we get those nice so we get longer shadows and the light coming in more at an angle. And he only supplementary light that was used here was a reflector, my usual 42 inch silver reflector. I'm using the same lens here, 70 to 200, but I said over a 125 millimeter at, at 3.5. So I wanted to do a close up and zoomed all the way into 200 millimeter. I set the arbitrary now at 3.2. And then you can see how the background is just beautifully out-of-focus. And again, we had the same lighting coming in, highlighting her hair from the side. And that brought the reflector in. And actually on the previous image, you could see a reflection of that reflector in the sunglasses. And here on this particular one, I did retouched that out. So here you can see all the different effects that you can get by using different directions of light. And then coming up shortly, we are going to take a look at how you can use existing allied in addition to not one but two additional flashes to give your images even more impact and direction of light. One thing that I recommend that you do is next time you're watching a great movie, whether it's at the theater or on your TV. Keeping an eye out for certain scenes that you see that are lit really well. As an example, you might see a lot of backsliding coming in, light, coming through the hair. Just all kinds of interesting light. You might even see spotlighting, possibly using two or three lights to light a certain scene. But just keep an eye on that and see how that affects the mood of that particular scene. 5. Sweetlight: Many photographers love photographing in the light of a great outdoors. Do so when we have what's called Sweet light. And it's also referred to as golden light or golden hour. And it's the best time to photograph. So when do we get this sweet light? While generally in our area, it's an hour after sunrise and about an hour before the sunsets. But it depends on your location and can also change seasonally. Now later on, when the sunsets and the Sun drops below the horizon, that's called Twilight. And that's also a great time. That photograph and few photograph in any of these times, you can get the most beautiful, sweet, natural light of all. Sunrise and sunset photographs can provide one of the most dramatic and mood provoking types of outdoor illumination. It reminds me of a theatrical kind of Whiting with this contrast patterns of highlights and shadows giving depth and dimension and impact to your photos. And many times you see that warm glow of red, orange, and yellow tones. The scene can be warm and serene, too dramatic, stormy. In addition to photographing the sun, that's sunrise and sunset, you can also add elements of composition to you photograph. For instance, you can add nature. You can photographed the landscape as it is, or you can add people. And that's what I enjoy doing. I enjoy photographing people, even though we lived about 2.5 hours or more from the beach or the mountains. We did get clients who wanted something extra and they didn't mind going the extra mile and driving, having to get up very early in the morning so we could be there for Sunrise. And of course sometimes around sunset. We've even gone to places where we did both. We actually went there that afternoon or early evening and trying to get some sunset photographs stayed over and get up really early the next day for Sunrise. So we work with people that wanted a little bit more than what the average person had around or area. So we had a drive outside the area and people that live there or very fortunate, I always liked catering to people for which the ordinary holds no charm. They weren't afraid to do that little bit of extra work. So we can maybe get up early drive, take a long drive out there and maybe get that sunrise or sunset. Another element that can be added is the element of composition. As an example, you can use the rule of thirds. And the rule of thirds is actually simple. That's when you divide up your viewfinder or your frame into nine different sections. And the idea is to place the important element of the scene along one or more of the lines where the lines intersect. And placing it off center, using the rule of thirds can lead to a more attractive composition where we have a tendency to want to place the main subject in the middle. That's okay too. But the idea of cetera composition works out really well if you're working with a symmetrical scene. So you have maybe something architecture leading to the subject. But, so there's all different ways that you can make your, your composition interesting. But the rule of thirds doesn't even have to be that complicated. When you set up the compensation, have your, your main subject or your object a little bit off center. And as an example, say using your horizon line, you can put that on the lower thirds and if you want or on the top thirds plus you can also use leading lines of directions. And this way your eye actually takes you into the photograph, into maybe where your subject is, or it just makes it flow so it's more interesting. And of course, you can also add interest and depth by using a wide angle lens. Now what I do landscapes usually it's almost with a wide angle lens. When I do portraits, I naturally use my telephoto lens like a 70 to 200, and I may use in mid telephoto lens like a 28th is 75. But I'll make sure I get at least a couple n where i used well, actually more than a couple, but I'll, I'll make sure I use a wide angle lens that picks up the dynamic shape of clouds in the sky and so on. So that's a really nice way of bringing impact and making your photograph a whole lot more dramatic. And you can also add a frame to photograph. You can use, say, a part of a tree. You can even use some of the foreground using some plants in there. And these things just work to help frame your composition to make it more interesting. And of course, you can show patterns and textures, and patterns and textures can really be emphasize with side lighting as we talked about earlier. So there are many different things that you can do to enhance your beautiful sunset and sunrise photographs. But start with that sweet light and then you can go from there. 6. Late Afternoon Photo Shoot at Lake Pine: So where I hit today on a beautiful day, and I like to have you meet our model here. She's doing a great job. Say hi to the camera murray. That's Marie. She's doing a great job as a model. And then we also have one of my students here, a local student, Jana helping out. And she's also doing a really great job and she come a long way since starting her training in photography. And Marie has such a beautiful look. It's going so easy. She saw natural the photographs. So we're out here at this location. And I chose this spot here because we have mice, white coming in here from the back. So we're going to utilize some of that Bakelite by bringing a reflector and see that the reference node C. So now it shows this area here by the lake because we have a lot of nice backsliding coming in that I like to use quite a bit. So we get really nice lighting on the hair and the shoulders as you can see here. And this location, I do quite a few family portrait seer and some other portraits as well. But when you have that backlight, of course what you have in the front though, is a lot of bad lighting. So you have a lot of Raccoon eyes and a dark face. So you wonder, bring light into the face so you get that nice soft lighting. And this is really a soft lighting, not much contrast here. So it's gonna give us a nice pleasing and soft look. As a bonus, we're getting in a hair light and we're getting in a little bit of a kicker light that's coming in from the back and this just gives more separation. So let's review some of these photographs were taken at this location. And the first one here you can see that the reason why I chose this vocation was a beautiful soft light coming in from the back. However, not so nice when you look at the eye sockets. But we can fix that by bringing in a reflector. Now you can see here, now not recommend shooting with a reflector being shown in the photograph, but I wanted to just do that. So I can see really quickly which one was taken using the reflector. And so this is it now this is just a natural light with a reflector only. And that on the next one, you can see again the same image, but I cropped it. And then here we did a little bit of retouching. I actually ran this through a program called Portrait pro or portrait professional. And that's a program that a lot of professionals do you use and adjust those things really quickly. So there wasn't actually a whole lot of retouching done on this image and the eyes and are so beautiful with this type of lighting, with that Reflector, I didn't have to do anything with the catch lights. So this is just such a nice way of taking images quickly and easily with nice soft lighting. And on the next image here we can see that we changed the direction of the Reflector. And then this is how it looks coming pretty much out of the camera. However, I did maybe just some of the levels on some of these images just a little bit brighter. And then as we crop it in a little bit closer and again, do a login or retouching on. I took care of some of the stray hairs. And again, I ran this through that software program called Portrait pro and it does things automatically. And in addition, you could fine tune certain things if you see a blemish, you can just get rid of that really easy or a little wrinkle. But she had a great complexion to start with, so she was very easy to photograph. So I did want to show these images to you so you can see pretty much how they look out of the camera as ever taking without and then with a reflector added and then doing a little bit of enhancement and retouching on the final image. Sometimes I'll do a little bit of vignetting, which means I want to make the sides a little bit darker. So this way your attention will go more to the face. 7. Subtractive Lighting: Sorry, I'm noticing that umbrella shot. I really looks good. And what what is that? What's the difference here? You see that different structure? I do. You know why that is? Marie hold the umbrella off again just for a second. Okay. Now we can see all the natural light that's coming in all over. And then we can even see some of the raccoon eyes slightly, right? Yeah. And that's normal on even on the overcast day. You see that? Now watch what happens, Marie, if you put that umbrella up, put in like Writing Center fully up a little higher than that. Your hand. So it says, yeah, it's not beautiful, white is nice because now you can see I've saw the winding is in the eye. In fact, we're gonna do a formal just like we saw. This we came upon by accident because of the drizzle that we had in slight Misty Rain. Marie wanted to hold an umbrella over her head. Naturally the key per hair from freezing up. So she had the umbrella where through here. And that's not always setting her up. She held the umbrella up. And then we notice that right away. And this type of lighting is actually known as subtractive lighting. I learned this years ago from a really amazing photographer named Leon Kenema. And he went around to all the professional photographers circles, convention seminars, that type of thing. And he taught people this type of lighting and as the first time I ever heard of it, in fact, I don't use it that much because actually if you're doing a family requires you to bring along a big tent. It's really a whole lot of extra work. But for one person you can use an umbrella and get a similar effect. Subtractive lighting is actually removing some of the light that's coming in straight down. So you're eliminating dark shadows, any eye sockets as you could see just by adding that, however, it's also darkening the top Berber hair a little bit. So in addition to the umbrella, I wanted to add a little bit, so we brought in the Reflector. And you'll notice that again, you can move it around because you could see exactly what you are getting. That's what's so neat about when you're working with natural or continuous light, you see and you can make the adjustments as needed. So we move that reflect her around to get a nice soft, pleasing look. Subtractive lighting, interesting stuff. You want to keep your eyes open for this. You'll notice that if you're ever doing or you see an awning close by Goldman underneath that awning and check it out and see the difference. Even if he doesn't have anything else with you just by using that awning or if you're on a porch, you'll notice that beautiful soft lighting. And then if you want to, of course, you can always add more light if you wanted to. But this is a great start and it's something to keep your eyes open for. So look for the light. It's there. Because this is kind of an unusual lighting situation. Let's go back and review some of these images here are first image here was taken using natural light only. And as you remember, we had a little bit, actually a large opening in the sky, right above the model and a little bit behind. So he got some nice overhead light coming in from the top and right in front of the model. We had a little bit of clearing in the tree, so we had some light coming in. And because of the time of day, this was late, very late afternoon. The lighting was already going down, even though we didn't have the bright sun here, we're shooting on a very cloudy day, whoever our light source is still come in down lower so we don't get those raccoon eyes that you see. If you're shooting, say like mid afternoon light and light is coming in from overhead, especially on a clear day. You have huge pockets of shadow in the eyes. So here we don't have that that much, although we can improve it. Now watch what happens as we had the model hold the umbrella right above her head. We even get more of a softening in the face and especially in the eyes. And I took this photograph here so you can see the direction of the Reflector and then you can see the umbrella also. Now normally I would have her holy umbrella up higher. And notice that what the Umbrella does is dark in somewhat the top over a hair here. So by moving the umbrella up a little bit higher and forward, we can make sure we get a little bit more light falling on a top of her hair. Even though she's holding an umbrella here, you can get a very similar effect if you're holing and reflector above her. As I zoom in a little bit on the model, we can see the results now here, he's holding the umbrella along with a reflector. As you can see the catch lights in the eyes. This is pretty much how it was coming out of the camera. And then we add a little bit of post-production enhancement here with a little bit of salt focus at it on this particular one here. And I do want to point out that I normally down as the people I'm photographing and to hold their own umbrellas or reflectors. But I may ask them to help out though with carrying equipment. 8. To Post Process or Not to Post Process: So let's talk about post-processing and image enhancement. And if you are a peer's, chances are you're probably not going to like this. But I also say that if you are doing any digital photography, chances are. I said it's a pretty good chance you are not a appears because even if you're shooting Raul, you're going to have to process those images somehow. You have to get the color right. Because if you're shooting raw, Of course your images just pretty much flat. It's got all kinds of information in there that you have to find tomb or process to get it to the way that you want. So right there alone, even if a shooting a JPEG file, that camera is gonna process that for you into a J peg. So it already does some of the color correction and some of the processing. So you come up with a decent JPEG file. And even back in the old the film days, I want to say black and white, but it could be black and white or color. But I got started back in the old black and white days and I used to do my own film processing. But even after a while when I got to, I became a full-time photographer. I would use a film camera called the Hasselblad, which was a medium format. I also use an RB 67 may buy MIA. These were medium format cameras. And we learn what was called at the time how to make a custom negative. So instead of making a custom print that had to be dodge burn-in vignette it, we were able to certainly agree, make a custom negative that with the use of filters over our lenses. As an example, we had a like a big lens shade that would house all of these different filters that we put in front of it. We could put on a vignetting filter all different sizes. We could also do a soft focus, a diffusion filter. I even had different warming filters that you can use. Fact wonder the shades I had had four filters on that. You could just use the filters of your choice. And if you wanted to say do a vignette, you just flip that little filter and it will snap in place so you don't wanna do a salt focus. You would snap this one or you could combine two. So there's all different ways that you can actually enhance your image as you're doing the photography. And this was called making a custom negative, so to speak. Because this way, when the lab got the negative, They made a machine print and it was done really well. However, you don't usually stop there because say you're working for a client that you're doing, say a big family portrait and ordering a large print, whether it's, well, let's just say it's on canvas. You want that to be perfect. So you gotta do some image enhancement. You got to do some retouching. There was actually retired teachers of ball people that used to do negative retouching. They were able to solve and the blemish news to get rid of the blemishes. And they were just fantastic. That was their skill. They were negative rejecters. And then there was also retired teachers that would work on the print. And that was called artworks. And they were in a sense, artists. They used to pay some of the, or they could use pencils, dies, even airbrushing. And they would like maybe paying away some imperfections. So we'll get rid of some of the wrinkles, possibly in a clothing or anything that had to be done. Now wasn't able to be done on a negative, could have been done on the print, and I have done some of that myself too. I learn how to do pencils dies. I even took classes in airbrushing. So however, it just got to be to a point that most of us use outside experts to do that. Some of the labs would offer that. And then sometimes we also had read tortures that we knew that was some of the best in the business and we would use them. So even back into black and white days, there was no really anybody that really I knew that made a black and white print. Dow was a work of art without doing any kind of enhancement to it. So there really, so a purist does not really exist unless you're a photo journalist and you're documenting a news story that cannot be changed and must not be changed. However, lot photographer has to know what they're doing. They have to know that when they're set in a camera, they're getting the proper exposure. 9. A Story about Ansel Adams: Even ADSL atoms, let's look at ASL atoms. And if you never heard, if you're new to photography and you never heard of Ansell Adams, I really suggest you read everything that she can about ansible Adams is, as a matter of fact, this particular book here has, it's called, and so Adams examples and making a 40 photographs. This is really unique because he tells you how these photographs were taken and to some degree how they were printed in a dark room. Pretty amazing. So even he did image enhancement as he was taken to photographs as an example, this is one of my favorites. It's called Moonrise. And when he photographed this, this has a really unique story to it. If you look at the image, it's gorgeous. I just a quick peak, but I think you already get this book and just see how you made. Here's just a perfectionist. And so Adams was probably credited as being one of the photographers, or at least that I know of that put the word art into photography. He made art. He may photography art. Very, very excellent, beautiful, outstanding work that he did. So anyway, getting back to this image, he was driving along. I think he had an assistant or two with them. He saw this image. He quick stop. He got is eight by ten view camera out and he's yelling as assistant, yelling out his assistant to get him certain things and he couldn't find his meter. He said his eight by ten view camera from his tripod couldn't find his light meter real quick. And because he knew Miss isn't going to last too long. So he just estimated because he knew a certain formula that was a good formula to use for a, an exposure of photographing the moon. And that's what he did when he took this. He also put on here a Ratan filter, number 15 g, I believe. I'm not sure, but I believe that's a yellow filter. I used to use a lot of filters for my black and white photography. I also use yellows and I use reds also. And what the reds and yellows view is, they deepen the sky so they bring out more of a deeper sky. So right away from the star, he had a filter on his lens over his lands. When this was taken. He knew that this was going to be such a beautiful image. So he wanted to take a another. So on IE eight by ten, there's actually two sheets of film, one on each side. So he went to switch over the plate, and by the time he did that, the lighting change and this image did not exist anymore. So what he had was one image of that and he knew he kept thinking about it and I get it right was the lower part might've been underexposed, so he was worried about that. But anyway, to make a long story short, he did do some processing. He did, of course. He also did much dodging and burning in on the, on the larger as you would enlarge the image. And you could dodge whole things back and burn more light into a certain area. And then on this one here to I read in here, he used what was called a solution made by Kodak call IN five intensifier. And what that does is add more silver onto the negative so you can change, so you can improve the negative. And it is used for, I guess, negatives that were a little bit under exposed. You could correct them a little bit to some degree. So he did use that intensifier on making this print. So even the Great answer Laden's many thought that he was just a purist. Of course, this was the film days. So and then even, even many great portrait photographers, you have to do image enhancement. If you're going to photograph a family, everything has to be, you have to get rid of the, if there's any imperfections in the skin. Say you have some pimples, lines, a sore, some sort. You have to get rid of that because people wanted to display their best work. So you could do image enhancement either in the camera or you could do it after the fact called postproduction. You can do that on your computer. So I'm going to share with you the programs that I use for my post-production. And within a go through and look at some images. And then we'll talk about what can be done with those software programs. 10. Organizer, Viewer and Easy Image Editing Program: Using good photo editing software, along with good filters can gave you a lot of creative control over your images. Depending on how much enhancement you wanna do to your images. From 0, if you're a foreigner, journalists to the sky's the limit. And let me run through my favorite program that I use all the time I use more than any other. And that's called AC. Dc. I've used ac-dc since I first started using electronic imaging. And I first used it as just as a viewer to view my images. But through the years, ac-dc really a evolved into something spectacular. Now you could do things. If you look on top, you can see the windows. You can manage your images. Managed means you could do things like renamed them. You can organize them and view you can view them in all different ways. You can tag them and then you can view them by date, by name and so on. You can develop, in fact, I've used this to process my raw files with outstanding. And now with a newer version of it just keeps getting better and better. In fact, he didn't do just about any. I'd say most things that you wanna do to an image you can do with AC, DC. It's similar to using light room, but I prefer AC, DC over light room. It's very fast to use, actually easy to use. And if you don't need all the frills that Photoshop offers, AC, DC is going to probably do more than you need to do your basic retouching enhancements, color correction, cropping. There's a lot of neat things that ac-dc does. And one of the things that I like about it, because this is the only program I like to use to view my images. If you look at a thumbnail and then you right-click that, you'll get an option of going to another software program. I can go to smart photo editor and I could do this all within a CDC without having to leave it. So this is one of my favorite programs. Out of all the software programs that I use, I use this one the most. 11. Powerful Image Editing Pt 1: A another top image editing software program that I use and I love user's program is called Adobe Photoshop. Now, I use older versions. I have C as five, and even the way back to one that's called photoshops seven. And those actually are capable of doing a whole lot of enhancement way more than I need. So for my use, these workout really well. Or you can also sign up with a fear. Kinda knew you just getting started in this. Adobe offers what's called CC Creative Cloud so you could sign up with them. And you, and that includes Adobe Photoshop, the newest versions, all the updates. And you also get Lightroom. And I believe it's just $10 per month. However, you have to keep paying that you're not really own it. You're licensing the program to use ten bucks per month. So anybody that's going to be using this quite a bit and you're serious, it's not really bad. And I think there probably is no greater image editing software program that does so much then Adobe Photoshop. Adobe Photoshop does have kind of a high learning curve. But I really encourage you, especially if you're going to be doing a lot of photography and a lot of image editing. I encourage you to learn it takes some kind of a class, whether it's at a local school or you can do so many things online that you can learn. Also, I remember the first time i I sat down with it. I think it was Adobe. Was it two or three? I think Photoshop two or three. And it just looks adding a wow, where do you start? So you can imagine today, but it's like anything else one step at a time and you can learn it. And once you do, you're going to learn a lot of things also that I use called actions. And action is something that you record. Certainly steps that you do. So let's just say you wanna do some vignetting and self-focus together. You, you record that as you're doing it and then you hit stop and then you save it in a certain number. So for instance, you haven't saved at F3. So when you head F3 now, guess what he does all that for you. Really simple. And I also use a lot of shortcuts. I hit all these letters and it'll bring up the castle to all different tools that I need. So it really is a program that is probably a must if you're gonna be going heavily into image editing. So let's take a look. One of the things that I use quite often in Photoshop are the Levels Adjustment. When you adjust your levels, that means your brightening up the image or you can dark in the image somewhat also, but you don't even have to do the whole image. Let's take this image as an example. We want to lighten up only part of it because I liked the sky the way it is. So I'm gonna go to the Lasso Tool and remember I use shortcuts. All add to do is hit l. The Lasso Tool comes up. Now I just want to mention that this is not really a tutorial on Photoshop, but just some of the possibilities that you can do. Because this is a complete course and then some just by itself. But just so you have an idea of some of the things I do. So by clicking l, it brings up the lasso tool. And then here I lasso the area that I want. But first I want to make sure that my feathering is compatible with the image size. So I go and I check the size of the image. And this particular case we're looking at about a 68.7 meg file size. So I have to set the feathering so it blends in more. For instance, if I set it too low like 12 or three, it's going to give me sharp edges. But if I set it around to 25 to 35 or so, it's going to give me a smooth blending. So that's what I do. And then once I get the marching ants and I have everything Lamisil, I can make the adjustment in levels to the way that I want. Now there's different ways that I can do this. And if I were to make an adjustment on the whole image, I can do that. And, but it may brightened up the sky a little bit too much. And I could go back into the history and using my History Brush and I could just paint that back in, but I just find that so much quicker. Just Alas, all the parts that I wanna do, the enhancement to make the correction, and it's done. 12. Powerful Image Editing Pt 2 - Portrait Enhancement: So we're gonna go through a portrait image. And now I'm gonna show you some of the things that I'm gonna do with it. And before we do that, let's just go over quickly what I'm gonna do just so you know, we're going to start with the image here as it comes out of the camera. I did adjust a little bit the levels, but there's no cropping, there's no retouching Done yet. And then we're gonna go ahead and do some retouching on this really quick and Adobe Photoshop. And then I'm going to run this image into another software program called Portrait professional and watch what it does to the image. It just gives it a really nice enhancement to this scan. I can even sculpt the face a little bit more. I can take off a little bit of weight and then we go back and do a little bit of vignetting. So let's go through those steps and I'll show you what I did here. Okay, I'm going to start with the rubber stamp tool. And again, we want to make sure that we changed the opacity. So it's going to give us that kind of retouching that we want. I want more of a smooth blend where if we set it to a 100%, it's not going to blend in as much where if we set it to 50-60 percent, It's going to give more of a blending. In fact, sometimes on the blemishes, I'll set it to anywhere from 30 to 40. And then we'll just take our brush and I'll clone certain sections of the photograph. So we get rid of the area that I want retouched out like stray hairs, maybe a blemish hair in there. And now I'm going to take this into a, another program called Portrait professional may by anthropic. Anthropic sat, some really awesome image editing programs. For instance, you have Portrait professional. Then you also have a another one that we're gonna be looking at call smart photo editor. With portrait professionals, you could do so much to use skin tones. You can sculpt the face. They even have one. I don't really use it, but they do have it if you do need it where it thins the body. So if you have somebody that's a little bit heavy and quite easily you can just take a few pounds off for that person. So you could do so much with these programs may by anthropic ks and of course combined with Adobe Photoshop. So once the image appears in portrait professional, Notice that gives a little guide as to it find certain areas. It's going to find the eyes, is going to find the lips, the nose, face, and then if you have to, you can make adjustments. If they're not correct, you can just bring out the cheek maybe a little bit further and adjust the hairline and adjust the eyelashes so you could just find two NAT and then once you do, you also have settings that you could do manually. But I have a lot of presets on here now too. So it's sorta like using actions in Photoshop. Once you get a nice look that you'd like, you can save it as a preset and it's gonna do that for you automatically. So once we have it to the way that we like it, and then this is what it comes up to here. You can see that before image without any kind of retouching. And then the after image. And then we take this image back to Adobe Photoshop and then we can see what it looks like. So here you can see before. And then after we read it through portrait professional, pretty amazing, right? But then I want to go a little bit further and I'm gonna do a little bit of vignetting. And I could do that in so many different ways. I believe I can even do that in poetry professional, but here we're in Photoshop, so I'm gonna do it this way. I'm going to lasso the area that you see here. I'm going to just brighten up the facial area just a little bit. And then I'm going to control i, which is a shortcut for inverse. And it's going to bring up the background now the little edges. And then I'm gonna darken that a little bit. And now we have the finished portrait here, slightly vignette it and slightly brighten up the face. 13. Image Editing & Effects: Another software program that I really love using and made by anthropic is called smart photo editor. I love using this program. It offers so much from just subtle things like to vignetting, self-focus, HDR. But the backgrounds that you get out of this program is just, they're just amazing years ago you would have to do all this art or to an image. You remember seeing what you still see in all these CD covers off all these artists, how just off the wall they are really, really heavily enhanced images. I should say, that now you can get this with just a little turn of a mouse. So it's really amazing. And two degree that you do it with, that's up to you. Certain things I don't use it for, but for fun and for landscape, it actually has a lot of possibilities because you can enhance, you could add certain bits of saturation to your images. As you can see, changes, backgrounds, you can even pick up a lot of detail in the shadow areas. So this really offers so much and it's a lot of fun. And you can even, and even my users program, you can get some nice matting out of this to end some beautiful black and whites. The image editing programs today are just amazing, so just use them as you please, but just keep it in. Well, it's going to depend on your style. So you want to you wanted to stay consistent with the style that you're offering. And if you're going to be offering a higher upscale, more of a photo service, then you want to keep it maybe more low key as far as special effects skull, but if you need them, they're there. 14. Window Light: When the light can give you beautiful soft light, whether you're photographing portraits or even small products. Even photo journalists love photographing using just natural when the light and now when the light became the preferred way of photographing studio portraits, way back in the early days, I'll photography. And they would have their windows facing north. That's why it is often called North Light. And the reason that was because in order to avoid direct sunlight from coming in, then we get a soft light effect. Not the only problem with that was you have to photograph in the day time. Now of course, with Noteflight, if you're down under, in Australia and New Zealand, it's going to be the opposite. So I'm assuming itself like down there. But in the Northern Hemisphere and it was often called North lie. But you can use window light really any place. And I use it on all occasions. I use it a lot for weddings and even small products I've used it for. And just if you're out having fun with family and friends, you can use just natural window light. Or if somebody asked you to do a poetry, but you can also, if it's available, find a nice place to give you beautiful soft when the light and when the light can be anything from small windows, large windows to patio doors, it's just beautiful soft lighting. And it reminds me of a very large soft box. Let's take a look at some images. So he ever at the angus steak barn was some friends and I just took a few casual photographs. And this is all natural window light coming in from all over. And there was no reflector, no flash use just peer window light. Same thing here when my friends wanted to take when I me. And then here you can see that the window lights were actually used more as a kicker light, whether we're coming in from the side and coming in from the back. And as you saw earlier, this is a great way to add dimension and a little bit of impact to you photograph. And here we're using window light coming in from the side. So this is used more of a side lighting and they were mixing this with Flash. So when you use your flash in combination with the window light, I always adjust the flash. So if I'm shooting TTL, I usually set it anywhere from minus two to minus one. And this way we're using it as a fill. And here again we're using Flash and a combination window light, but the window here is used more as a backlight, and I just add the flash to give a little bit more light onto the face. Here we're using again when the light as a Bakelite, but this time we brought in a reflector. So we're lighting up the front of the face. Otherwise, the front of the face will be very, very dark and it would be very hard to get detail in there, of course, depending on the light that you have in a room. But in this case, and look better if we added in a reflector. And in his casual portrait of Jinnah here we have window light coming in from a little bit from behind her and a little bit off towards our left side. And I did bring a reflector and so he put a little bit of light on to the dark side of the face. And then here again, we're using When the light mostly coming in from the back and a little bit to our left side. And how to bring a reflector in to lighten up the face a little bit. And with the bride here, nice soft when the light with a reflector added to give a little bit of catch light in the eyes and to open up some of the shadow area. And using that beautiful soft when the light with a reflector added here we get a beautiful saw flight portrait of the bride with the girls. And it makes for a nice black and Y2. So here I'm in Kansas City. I'm about to attend my nephew's wedding in my hotel room, waiting for the others to get ready. And I have a couple of minutes. So I figured I'm going to try setting up my Fuji. I was using a Fuji 100 f. So when I opened up the curtains, I saw this really beautiful soft light. So I figured this would be a great opportunity to try using this kind of a light in a portrait. And since I was the only one available, I did a self-portrait here. And on the first image here you can see pretty much how I was coming out of the camera. I did such that controls to shooting manually and focus was also manually. I pre focused on the chair. And of course this was a self portrait, so it wasn't exactly frame the a 100% correctly. But just to give you an idea of how just one beautiful soft giant window or actually patio light can give you a nice portrait. And on the next one, you can see it looks a little bit better when it's cropped. So window light, every chance you get, seek out when the light and use it when you can. 15. Backlit/Double Light Technique: Now we're gonna take a look at another interesting way that you can use light, and this is called double lighting. We've already established that you can do lighting. Say if you're going to be a lighting from the front, you can use one light source as a fill light. You can also bring in additional light source. Where are you going to be using that as your main light? But in this particular case, we're going to be looking at using a second light, where we're going to move the light all the way around behind the subject, and we then use that as a backlight. Now, you can also find this occasionally if you're at the right spot at the right time, you can find this with the sunlight that's coming in from behind the subject. Or it could be a window light or add another light source. So why would you want to use this double lighting technique? Well, I like to use it many times. I want to get more separation from the subject to the background. And also many times you can add a lot of impact to your image by using this technique. Now, that means you're going to have to be using, you're going to be setting off a second light. And for that I'm going to use a quantum radio control unit. I have a transmitter on top of my camera. And that's going to set off the additional flash that I have because it has a receiver. The second flash has a receiver that's attached to the flash. So when I treat this shatter, the Flash that's on my camera is gonna fire, as well as my second flash that I have behind the subject. So using a radio control unit, you can do that. And again, I'm using a quantum. There's other units that you can use. You can also use your flash and commander mode. However, you may have to be careful that your, that your flash is not being hidden because many times it may not fire. And somebody, older cameras, I have experienced that. So i i continuously use my old quantum radio control unit. But like I said though, you can use your flash and commander mode and give that a try and see if that works for you. So let's take a look at a few images and we'll go over how that was done as we look at our first couple of images here, the first one here we can see that this is done actually with natural sunlight that's coming in. And I stood them next to the tree here because this tree is also blocking the sun from hitting our lens so we don't get any lens flare. And we getting beautiful Bakelite naturally right here, of course you don't get this all the time. But in this case, I saw that. So we set them up here. And the same thing with this particular one here, the bride is laying on her bed. We have beautiful light coming in from a window that was a little bit behind her. And I was just highlighting her veil. And if both of these cases here of is using my flash mounted on the camera, which was an icon speed light shooting at TTL. And on the second one here, the light was bounced off the ceiling, again using TTL. And the next one here taken to the bride and groom as the kiss. We just took them outside for a couple of minutes so we can get some of the beautiful sky in here. So, and this particular one, we were using a bakelite that was set kinda weak. And in my particular case most of the time, my second light that I'm using is a quantum cue flash. And I always set this to manual, so I just adjust the setting. I go from hardly ever use full power. I might go to have a quarter all the way down sometimes to a 64th power if I need it. But here you can see that it was kinda weak. But he gave just a little bit of separation and a little bit of highlight to her veil here. And here we're looking at another wedding image where we were using backlighting. Again, it was my quantum and I usually have my assistant just getting really low and small, crouching down so as not to be seen. And then I'm using my on-camera flash as a fill here. And then I expose this actually a combination for the bride and groom. And I wanted to get some the lights on the building in addition to getting some of the dramatic cloudy sky in here. And this also involves a, another technique that I think you'd be interested in. It's called dragging the shutter, dragon. The shutter is when we use a relatively slow shutter speed, so we allow ambient light to come in. And then also we're using our flash to make the exposure. So here as an example of this particular couple, it was done with a wide angle lens I 15 millimeter on a crop sensor camera. We, the, the, the ISO was 400. And here we use a 30th of a second to get enough light in natural light. And then here we adjusted the flash. So at F6 0.7. being our aperture, we have enough live here to hit the bride and groom. And then here's another example using the backlight with a wide lens. Actually on this particular one, I was using my 18 to 200 millimeter lens. It was set to 18 millimeter and the same light, the quantum had my system standing back here. And then you can see that backlighting here as it comes in, the aperture here was set to f 5.6 coming from my Nikon speed light mounted on top of the camera. And here it was already very dark. I had to use a fifth of a second so I can capture some of the existing light on the castle here. And then the ISO I had set to 400. And here you can see how the backlighting gives not only a little bit more dimension, but adds a little bit more impact to the image. And here we're looking at a bride photograph here in the fall, seen some nice fall colors. The sun was already starting to get fairly low. And I wanted to just give a little bit more of a kick coming in from behind so we could see a little bit more separation. So in this particular case, I had the bride's mother holding my second light, the quantum again. And here it was set relatively weak, so we just picked up a little bit of that backlighting glow that you see here. And on this particular one, I was using my 70 to 200 millimeter lens set to F4 80th of a second at ISO 200. And then here's we come in a little bit closer at the same bride, we zoom all the way into 200 millimeter and you can see how much the background now is out of focus. But you can really notice here the light coming in from the back. In fact, it's even hitting some of the edge of the tree here. And this particular one again was F4 1 160th of a second, and the ISO here was 400. And this just gives a nice little touch of backlight to the bride. And another photograph has a bride and groom looked at each other. We're using the backlight here. Lends was set to 200 millimeter or my 70 to 200 F4. So we get a little bit of background blur here, 11 eighth of a second. And ISO here was 100. And this gave us a nice light all the way around the edge of the faces also call sometimes rim lighting. And another interesting image where we're in complete darkness here, it's already very, very late. And I had my system standing behind the bride and groom again, the same flash, my quantum cue flash. And it had to set the exposure. So I picked up some of the hotel Hilton sign here. As he leans over and kisses, we take the photograph and this was also the wide angle lens, 15 millimeter and on a crop sensor camera. And f 5.6 was the aperture, 1 fourth, 1 fifth of a second at ISO 400 and gave us enough light to pick up just a little bit of the hotel sign here. So I'll be looked at different ways that you can use backlighting outdoors. Now keep in mind, you can always do this indoors and I'll do this occasionally on a portrait to just giving a little bit more separation from the subject to the background, where we just highlight maybe some of the hair. And sometimes on occasion I may add a filter onto the back line here. So we might pick up maybe a bright yellow or a blue tone. But here I'm using my quantum cue flash, bounced into a silver umbrella as the main light coming in from our right side as we're looking at the subject. And then I have a Nikon speed lights set right behind her that's giving us just a little bit of backlight and had the flash set to manual. So I just dialed down the power setting to what I need it to get that nice rim light. I'm not sure exactly what it was anymore, but you can experiment on this and then just write down your results. So you may know because if you're going to be photographing a dark haired person as compared to a blonde hair person. You're back lighting and your hair letting if you're going to be using hair light can vary. So want to wash out the hair too much. But he had we just gave just enough backlighting here to show a little bit of light coming in from behind the lady here. 16. Painting with Light: Now I'd like to go over something that I think that you can find really interesting. And this is known as painting with light. And we're going to be photographing this little Fuji Camera. And I have a black background that I set it on. And our paintbrush is going to be this little LED light unit. And these you can get just about anywhere. And that's all we're going to use. And the neat thing about painting with light is that you can move it around and you could, you could actually start coming in from the back pain. Certain areas that you want to emphasize. This is really a neat way in small products. One photographer I know that uses this technique, he paints automobiles using light. And for some like that, you can use a larger light source, like a larger flashlight, maybe more powerful. Or you can even use one Erdos LED video lights that are, that are larger for its good for larger surfaces. I've seen other photographers also used this technique when doing landscape photography. Say as an example, they're doing a sunrise or sunset. And there's a certain section that's fairly close that you can get to. And it's Connor ventures thing, yet it's dark. There's no light there, so you can actually get closer to that area, use a flashlight and then you can just brighten up that area that you want to have in your, in your composition so it could be seen. You can even be more creative if you want to put gels onto your light blue, purple, pink doesn't matter. This is a technique that really allows for a lot of creativity. So let's take a look at some of these photos that were done using one simple light and photographing this Fuji Camera. When I first started photographing, I wasn't really sure what to put my settings on. So I started off. Actually, I'm going to show you some of the images and we're going to be looking at rejects to normally people don't like show and you're there mistakes, but this is a way that you can learn some like this. It's not a 100% foolproof all at time. But once you experiment and you get it right, you'll know how to do it again the second or third time. So here I'm actually starting off with too much light. I started off using that really strong tactical light and that was way too much power. And here I actually started using 20 seconds and I'll set the ISO at 250. And I was at F5 for my aperture. And then I realized, wow, this is way too much light. Let's grab that little LED light that I showed you. And the second time I try that it wasn't really bad. I switched down to ten seconds and this time I used f 20 because I was able to get more depth of field without smaller aperture. And I also change the ISO down to 100. Each time you do this, you'll notice that you get a different result because it really depends where you place the light, how long you keep it there. So you could do to several times and then pick the best one. On the third image here, I set the camera to 22nd exposure F 16 as my aperture, ISO was 400. And I saw that what determined their result was how long I kept the light onto the camera. So 20 seconds seemed okay. So the fourth one, I kept it at 20 seconds, and then I change the aperture to f 20. So I got a little bit more depth of field. Iso was changed now to 200. On the fifth image here, this is the same setting 20 seconds after 20 at 200 ISO, We just have a different version, differ amount of light shining onto the camera. Number six, also the exact same thing. And for image number seven here, I realized that 20 seconds was too long because I spent some of that time in darkness just waiting. So I cut it down to ten seconds were I was pretty busy for the maybe 8910 seconds. Shiny enough flashlights. So this is ten seconds kept the arbitrary at F21, ISO remained at 200. And the last image here and was exactly the same ten seconds seen the work out good at F 2200 ISO for the light that I was using on a black background. So these photos were taken at nighttime and i had the windows closed. The only illumination I had I was in the room was a little loosey light, which is like a little solar LED light. And I just had that off to the side just so I can see walking around that room without tripping over anything. But the exposure was mainly done by using that little LED flashlight. Here's another interesting way that you can work with light. This is really neat because you have more control. Like a painter that's working with a palette on his canvas. This way you have more control over the light and you can create your own masterpiece. As you paint with light. 17. Your Class Assignment & Final Words: Hello, and I'd like to thank you for taking this class. And I'm sure by now you realize the important characteristics that lighting has on your photography. And that leaves us two year project or your assignment that I'd like to have you do. So I like to have you photograph in what's known as the sweet light, which is generally within the hour after the sun rises to within about an hour before the sunsets. And this gives us that warming, that beautiful warm, soft light. However, if you stick around for a little bit longer, you gotta get to experience Twilight. And twilight is roughly within a half hour after the sun sets, or within the same amount of time, less than a half hour before the sun rises. And this is more of a coal or more of a blue light. And this is beautiful lighting. And either one that's sweet line or Twilight is gonna give you some great opportunities for doing some really great photography. And I like to have you either do if he can't portrait, if not, then you can use the landscape. So of course you're going to have to scatter your location first. And of course you're going to need the right tools. And if you're going to be photographing in a darker situation like around, why light? It's best to use a tripod to avoid any camera shake. And you'll use the best tools that you can. If you're gonna be using your your phone. That's fine because I use my phone all the time, but not all the time, but I use it quite a bit now. And you can get some great images using your phone. So for those of you that are more advanced and you shooting with a digital SLR or in mirrorless, I like to have you set your, your white balance to either cloudy or shade. And, or you can adjust it to about say, between three thousand and four thousand kelvin. And that's going to be a lot better than shooting auto white balance. Because in auto white balance, as you probably know, it's going to your cameras going to adjust the white balance so it looks more natural, but you want to capture actually what you're seeing. So that's a start and of course, don't forget your tripod. And if you're going to be shooting in a really dark situation like in twilight, you might want to lock up your mirror if you have a digital SLR and you can use a cable or you can just use a timer to set the exposure. She liked to go off in three seconds. So in case it's really dark because you might have a little bit of camera movement if you're clicking the shatter. So for those of you that are shooting with a phone, I have great news also, you can use an app such as Camera Plus two, and that's one that I use quite a bit where you're able to shoot manually. You can lock in your exposure and you can also set your white balance on that. And that's again, white balance is pretty important when you're shooting in this sweet light or an a twilight situation. So if you notice when you're photographing in the suite light timeframe, notice the soft diffused lighting and warm tones that you get. So if you're going to be doing a portrait, I like to have you start off by facing your subject straight into the light. And then you'll notice that beautiful warm tones and soft light that you get even when you face in them straight into the light. And then take some photos where the light does hitting your subject is coming right from the side and notice the difference. And you're going to facial subject in the direction that the light's coming from. However to life's going to be a little bit behind them and slightly to the side. And you'll notice the beautiful rim lighting that you're going to get. And this works out great for doing your profile portrait. Now when I do this type of a portrait, I'll either use a diffuse flash or more than likely a reflector. And I prefer using a reflector if I'm photographing and individual or a couple. And this way you are bringing more light onto the face, reducing the contrast. You giving a more of a pleasing lighting ratio. And also be sure to adjust your camera or your phone to get that proper exposure. And of course, you want to expose for the face. And even if you are going to be shooting any automatic exposure, remember that you can adjust your exposure before taking your photo by just moving that little sun up or down so you're getting the proper exposure. And then I'll want you to move your subjects so the light is still a little bit behind them, but not directly a little bit off to the side. And this way, you can face them a certain way so that they're still being lit. The hare is still being led and you get a beautiful rim light on the phase and then the shoulders. It's just a beautiful look that gives more dimension to your subject. So when you do your project, I like to have you do as many of these as you can. I know it's a bit of an inconvenience having to get up before sunrise. But we, I used to do a quantum bit for engagement and portraits. In fact, sometimes we would get up extra early because we had about at least a three hour drive to the beach. And so but it's all well-worth it. So so I just imagine if you had to get up at five o'clock in the morning. I know that's early, but look at it this way. Five o'clock is better than four o'clock, right? No. So you actually photograph during the peak lighting times, which again is sweet lied or twilight, then you can sleep during the day. So it's important that you there at the right time. And remember doing just that little bit extra is gonna make you a much better photographer. You might have to get out of your comfort zone and move into the venture zone. That's a lot more fun anyway, just doing that little bit extra. So thank you again, and I wish you all the best until we meet again.