Transcripts
1. Introduction: Can I monetize Warren Marshall? And this class is about light painting, photography. Good, I loved painting can mean different things to different people. It can mean rotting your name in the Scott. It can mean using light tubes to make circles of various patents in the landscape. It can mean creating orbs with various different LED techniques. The kind of light painting photography I'm going to teach you in this class is different. This light painting technique involves using a controlled light source, such as a torch or a flashlight. For our American friends, to create a light source that you can paint onto your scene. Now, all you need for this technique is a torch such as this, and a camera that's capable of taking long exposures. You can do it on your phone as well. Many phones are capable of taking long exposures. By long exposure, I mean anywhere from 1 second through 2-3 minutes or more. Now, when we do this technique, it's generally best to do it at night because we want to create a dark environment. Because we're using those long exposures. We don't want to overexposed our image. Now in the dock, our camera sensor is not recording any image because your camera sensor needs light to create an image in the darkness. There's nothing they, until we start painting the light onto our scene with our torch or our flashlight. Now, we can use a long exposure in the dark and paint light in from various different angles, from various directions. We can use different colored light. We can use a multitude of different techniques to create images that are really unique. And all we need is a camera or a phone and a torch such as this. Now, I'm going to show you how to do this technique in this class. I'm going to show you various different images that I've created myself with this technique, both indoors and outdoors. I'm going to show you some videos and behind the scenes videos of actual photo shoots where I'm creating the technique from scratch and explaining that as I go. So you'll see me working with this technique. I'll be creating images with a single light source. I'll be creating images with multiple light sources. I'll be backlighting. I'll be using colored light on the scene. I'll also be creating some special effects and some motion will shoot some, some motion blur with this technique as well. It's such a versatile technique. Your friends will be amazed with these light painting photographs. Now, you can do this technique tonight. Once you've watched this class, you'll be able to go out and create these images quite easily yourself. All you need is a little bit of practice. A single LED torch and your camera or your phone. So come along with me in this class, learn the technique and you'll have it for the rest of your life.
2. The Basics: Welcome to this class on light painting photography. Now, I use this technique for a number of different types of photography that I do. I use it for weddings or use it for portraits. We can use it on still life, landscape. Any type of photography that you want to shoot. It's a technique that is very versatile and I'm going to run you through the steps in creating a light painting photograph. As I mentioned before, the equipment that you need is limited pretty much to a camera or a phone, and a torch of some sort. A torch that can focus a beam narrower or wider to give you a small brush or a broad-brush when you're painting, you're seen also intense light. An intense light is so much easier than a very dull light. Also, an LED light is a better option then maybe your tungsten light or an old-style torch. Simply because of the color of the light. You can correct it with your white balance in your camera or your phone. But a white light is better to start with. Also, we can use a couple of accessories to help us with our light painting photography. We can use gels to color our light simply by placing them over the front of their torch or a flashlight. We can use gel such as these that are made specially for flash photography. Or we can simply use cellophane in various different colors because that's going to change the color of our light so we can create different colours in our scene quite easily and quite quickly. Now, as I mentioned in the introduction, a dark environment is the best environment to shoot these sort of shots. Because he wanted to try and get that long exposure that allows us the time to paint the light onto our scene. Now it doesn't need to be completely dark. You can have a scene that's reasonably dark. It will just limit the time that you can have your shutter open for the ducky You're scene is the longer you can have your shutter open without having that ambient light interfere with your light painting. The length of your exposure simply needs to be enough time for you to do the light painting that you need to. Sunlight painting photographs are quite simple and quick. You can paint your scene in one or two seconds if you need to. Others are a little bit more complex. So you may need 102030 seconds or more. So if you need a longer exposure, then you'll need a darker environment. The other thing that we need to be conscious of is that our subject needs to be still. If we're shooting people, as I do mostly on the people photographer, we need to make sure that our people are still not swaying around or moving during our exposure. So that when we paint them, they're going to be nice and sharp. So I tend to lean people against something or sit them down or have them hold each other if there is a couple just so that they can maintain that stillness without looking uncomfortable, we still want them to have a nice expression on their face, but we need them to be relatively still so that when we light paint them, they're not going to be blurry. When you're shooting landscapes or other solid objects is not a problem. But with people, you need to think about how you're going to pose them and they need to be still. Now a camera settings are quite important when we do this kind of technique. We need to shoot on manual exposure so that we can control how long our exposure or a shutter is open for. We need to shoot on manual focus because we don't want our focus changing when we press the shutter to take our picture. So manual focus and pre focus on your subject before the exposure happens. The other thing we need to do is turn off any image stabilization. Because image stabilization can cause our image to move as we're shooting, as the light beams moving around our image. So we need to turn that off. Now the versatility of this technique, as I mentioned in the introduction, is that we are in total control of air exposure. So we can vary our exposure on your subject in a number of different ways. Obviously, our camera settings will make a difference, which I'm going to go into in a little wall. But the main way that we control how bright or how dark parts of our image are is with our torch beam. If we move more slowly with their torch beam or image tends to be brighter in those areas because the torch or the flashlight has been on those areas for a longer period. If we move more quickly, then the exposure is less. So if we had a subject with dark jeans and a white t-shirt, for instance, we might move more slowly on the dark jeans with their torch beam and a little bit more quickly on the watch shirt so that we don't overexposed that area. The other way we can control how bright a particular area is, is by the size of our brush. So if we focus our beam in very tightly, then that light is going to be more intense. So we would need to move more quickly on our subject than if we had our light focus back and had a larger brush or largest spread of light on our screen, we would need to move a little bit more slowly to get the same exposure. The other way we can do it is by the proximity of the torch to our subject. If we're closer to our subject, are torch beam is going to be brighter. If we're further away from our subject is going to be darker. So we can vary all of these factors to enable us to control that light. We can then move inwards or outwards during our exposure. We can change the beam size during our exposure. And we can change the speed of light as we go across the arsine. Another way that we can make these shots look really unique is that we can light from different positions during the same exposure. We can light one side of our subject from the left-hand side of the camera and then move across to the right-hand side of the camera. Like the other side of our subject, we can hold our camera apply to give a shadow patterns such as light coming down on our subject in one particular part. And we can move our torch down lower or move it to the side to get different type of shadow in that different part of the image. So try to think outside the square. Maybe use different light modifiers. You some shadows across your image in some way. Move your subject around a little bit through the scene. There'll be lots of tricks and techniques. I'll be showing you in the behind the scenes videos to come later in this class. But try to be a bit flexible. Try to think outside the square. Try to experiment with this technique because you'll get images that no one else can get. Now one thing that you do need to be a little bit careful of is because we've got longer exposures on air cameras, it tends to drain our camera battery a little bit. So make sure your camera battery is fully charged before you start doing this stuff. And keep an eye on the battery as you go through. Because the longer your shutter is open, the more your battery will drain. It's always a good idea to have a spare battery on hand just in case you don't want to get halfway through your session and beginning fantastic images and then your battery dies. So spare batteries are a really great asset. Have one in your camera bag, fully charged all the time. In the next video, we're going to look at more specific so of setting up your camera and the workflow that we use when we're taking light painting photographs.
3. The Proceedure: The procedure that I use when I take light painting photographs follows the same pattern just about every time. The first thing I need to do is to make sure that the environment is dark enough to give me a shutter speed that's slow enough to be able to light painting the way that I want to. I'll often rehearse the route that my torch beam will take across the scene. Because I need to make sure that my light is going to adequately cover the scene in the way that I wanted to, to create the effects that I'm looking for. Now, one of the first things I do when I'm about to take a light painting photograph is I will take a base exposure without any torchlight just to see what sort of detail is available in that scene to me, just with my camera settings. So my image would appear fairly dark. Ideally, I would like it to be dark but not featureless. I don't want it to be complete blackness. I wanted to show a bit of shadow detail in there so that even if I don't paint particular parts of my scene, it will still show a little bit of detail. It will be dark, but it gives my image a lot more depth. So my shutter speed, my chosen shutter speed, for instance, may be 15 seconds. I will take a shot and if my images a little bit too dark, I can always open up my aperture a little bit to brighten it up. Or I can increase my ISO. So adjust your camera settings to give you a scene, a base level of illumination that's going to be dark but not featureless. The next thing I need to think about if I'm shooting people is that I need to pose my person in the scene. I need to make sure that they're comfortable. They're still there composed correctly with the scene in the shot as well. I want to make sure that they're in the image in the right way, facing the right direction. In the right pose. Leaning against something or sitting on something so that they can stay nice and still. The next thing I do is focus. I make sure that my manual focus is sharp on the part of the image that it needs to be. Generally speaking, my person, because I should people is the main subject of my image. So I make sure my focus is done properly on that person. Now, you could use auto focus to focus on your person and then switch it to manual. So it's not going to change my preferred just using manual focus and making sure they're sharp to start with. Now because you're shooting in the dark, focus can be an issue. So use your torch beam to highlight your subject so that you can focus properly on them. Once it's focused and your cameras in position on a tripod or on some sort of light stand, then you don't need to refocus unless you change your scene and change the camera position. After that's done. Now I'm ready to take my light painting photograph. So I press my shutter on my camera, either using the shutter button or I can use a remote release, or I can use my self timer if I need to walk to a specific place before I start light painting myself timer can help just by delaying my exposure, my shutter release by few seconds will allow me to get to that place. Any movement of your camera by pushing your shutter button with your finger is pretty much negated because you're shooting darkness originally. And by the time you start light painting, your cameras going to be still and free vibration. So once my shutter is open, I moved to the position and start light painting. Now I don't try to turn my torch on just before I start light painting. Because if I hit the wrong button or it's on the wrong mode, I may get a fleshing Torch, I may get a low-powered. These things often have three different modes that they can shooting. So what I do before I set my exposure off is that I make sure my torches turned on and then I'll just hold it against my chest so that there's no light spreading anywhere. All set my shutter off, then I'm ready straight away TO start. Painting was seen with my torch. Now, if I wear dark clothing, which I like to do and, and doing these sort of things, I can actually walk across in front of my camera during that exposure. And as long as my torch is not showing or I don't have too much white or brightness on me. I'm not going to show on that image. So I can walk across in front of my camera quite comfortably. If I hold my torture against my chest. If I didn't, then I'm going to get a white line across there from the torch beam moving in front of the camera. But I can freely move around in front of the camera once or twice to change directions to light from different positions. So it allows me that freedom of movement. Now a couple of things that may get in the way of your image looking the way that you want it to. The first one is bad focus. Focus is really critical as it is with most of our photography. Focus needs to be on your subject and it needs to be sharp and it needs to be done well. So after you've made your first exposure, check your focus. Zoom in on your screen just to make sure that your subject is focused. Well, try not to move your camera because you don't want it to change the framing or to change the focus. Just check that that focus is right. You don't want to go through a whole half an hour of light painting and have all of your images a little bit soft or autofocus. The second problem you may have is if the root that you use to paint your scene means that you paint the same thing twice over. Because if you run your torch over the same thing twice, it's going to double the exposure or the brightness in that particular area. That's why it's a good idea to rehearse that route or that path that your torch beam is going to take before you do your shot so that you don't double light any particular areas. The third thing that may get in the way of your image being successful is subject movement. Now, it's very hard for, for your subject to stay completely still for all of that time. They only really need to stay still while you're painting them. If you're painting the background or the scene or the grass in front, then they can move a little bit. It's not going to affect your image because they're dark. But while you're painting them, they need to be relatively still. You don't want them to have a very stiff, unnatural look on their face because they're trying their hardest to be still. If they're relaxed, they're leaning against something, they're nice and comfortable. Chances are they can have a nice expression, iss to the camera or wherever you want them to and they're not going to be moving when you take the shot. So make sure you take multiple shots, take a few images of the same scene using the same light path so that you're relatively sure of getting one that's going to be sharp. Like many techniques in photography, light painting does take a little bit of practice. So practice on something that doesn't matter to start with practice in your own home, practice in your backyard. When you've got your subject or your, your actual location, then you are reasonably confident of your technique and experimental. Play around with things, see what you can come up with. It's a little bit different. I always like to get the shots in the canned first. I always like to make sure I get nice shots to start with. And then I'll experimental little bit because if the experiments don't turn out, then I haven't lost anything. I've already got those original shots in the camp. But give it a go. I'm sure you'll be amazed at the results you can get. Now have a look at these videos, the shoot that we did in New Castle. And you'll see the techniques that we use. I'll become entering through the lessons just to let you know what I'm doing and how I'm doing it. So you'll be able to see the techniques involved. Now, I've got a few people there helping me, obviously because I'm shooting video of these images. So I need people there to help out. Sometimes I used them to carry equipment as well. I'm an old man, so it helps me to have other people around. Also, I'm a photography teacher, so I have a lot of people who love coming out on shoots with me because they can learn the same sort of techniques that you're learning in this class. So have a look at these videos. I'm sure you'll get a lot out of them. And I'll see you in the conclusion.
4. Your Project: Your project for this class is to take a light painting photograph and upload it to the project section. It can be a photograph of anything you like. It can be just the interior of your room. It could be a still life, a bowl of fruit. It could be a person, could be landscape. Anything that you can do like painting on is okay for this project. I just want you to learn the techniques so that you can apply it to anything that you want to in the future. Also includes some comments about how you did the shot, what sort of things you've learned from this class. Anything that you can put down is going to be of interest to other people. You can shoot indoors or outdoors. Just follow the lessons that we've taught you in this class so that you're able to produce the image that you're looking for. Make sure your camera is still habits supported during the exposure. So it's not going to move. Make sure your subject is still as well. If you're shooting a person, makes sure they're leaning against a wall sitting on something so that they are relatively still and they're not going to move during your exposure. Us along exposure, either ten seconds, five seconds, 20 seconds, whatever you need to paint the light onto your picture. Use the ambient light to create a little bit of shadow detail. Take your base exposure before you start light painting, just to check that most of your image is dark, but there's a little bit of detail in some areas. Then use your light painting technique to paint the light on your subject and create the image that you want. Don't stand behind your camera when you're doing the light painting technique, you'll get very flat lighting if you do, move away to the right or the left of your camera, that way the light is going to be hitting your subject from an angle, is going to create shape. It's going to create shadows in your image. The lighting is going to look much more interesting. If you do that. If you're shooting a person makes sure that your light painting from the front of their face. Because we don't want to light the back of their head, particularly, we want the front of their face lit. So think about those things. All of the basic principles of lighting applied a light painting the same as any other photography pursuit. Then check the results. Have a look at your image. Zoom in to make sure it's nice and sharp. If there are any problems with that, think about how you can fix them and try it again. It's a process of learning. As we go through. We learn a little bit each time. Shoot on a smartphone, you may need to go into the manual settings or the proceedings to be able to sit there longer shutter speed, you will need ten seconds or five seconds or 20 seconds, whatever your camera's capable of shooting. Even if you can only go to one or two seconds, you just need to light paint your subject in that time and use that setting to be able to do the job that you need to. So post the results that you get. Even if you're not a 100% happy with the results that you've gotten. Post the image, and I'll get back to you and give you some ideas about what went wrong and how to improve your work. Put some comments there so that we know the sort of exposure that you've used, your shutter speed and your aperture. Also, don't be afraid to put some comments in the comments section. Think about any questions that you might have about this technique. I'll get back to you as soon as possible and answer those questions. I look forward to seeing the results that you achieve with this technique because every image your take is going to be unique. So post them up so that everybody can see them. And I'll get back to you with some feedback.
5. Light Painting Shoot Part 1: Can I wear here tonight at Newcastle ocean buzz to do some light painting. We've got a little bit of a window around. So we started off down here in the lay of the wind so that we're going to be a little bit more comfortable. But we're gonna do various different locations around this area and do different lot painting techniques to show you what we can do. We're gonna start off here with some basic light painting. And then we're gonna do a few more tricky things as we get through the night. So pay attention, watch what we do. And I'm sure you'll get a lot out of it. Okay. I'm just gonna take a base level exposure here just without any launch in it at all among ten seconds at if right at the moment, 100 ISO. So what I'm looking for is a base level of exposure that just shows me a little bit of detail in that wall. Net should be fine. Now we're gonna get Maxine into a picture magazines or model for tonight using a shutter release, a remote shutter release, so that I can walk away from the camera and take the shot when I'm really lean your shoulders back against the wall if you can. Yeah. Because we want you to be nice and still. Okay. Alright, here we go. We'll just do a shot to start with and see what we come up with. Ok, that's great. And we've got a 10 second exposure because we're gonna do a few more things later on. That looks amazing. First shot, we'd nailed it. First shot. Okay. We'll do one more thing. I want you looking at the camera for me. Yeah, here we go. Just going to use a narrower beam. So I've got a narrower brush. Here we go. I'm just going to paint a little bit around the area just to show a bit of that wall. Another great shot. Okay. Can we get you to crush your feet over Maxine? Let b. Okay. And this time I'm going to shoot you from day on the wall along the wall because I want to show the texture in that wall. And I went to your face chain straight down that way for me. Okay. That's it. Alright. I maintain the same distance from Maxine said that my exposure is similar. Here we go. I would be able to see the difference in the light. Would that shot because of the different angle of the light. Now this time I'm gonna do a couple of different exposures. I'm going to lock Maxine in a similar way. And then I'm going to move closer to the camera and light the background so that we can get a couple of different light angles in the one shot. Okay, ready to go? Here we go. Sit. All right, terrific. Now we're gonna do a couple of different effects. Without torch painting began to create a gush to fit. First of all, do I am going to do it wasn't going to like Maxine fairly quickly. We're using the sine camera exposure as we did before. I'm going to lie to her quickly and then I'm going to get her to walk out of the shot and then I'm going to let the background. Okay. We've got Please sit. So what I want you to do this time I'm going to watch you and then I want you to take a step to the side and pose a little bit more differently. Okay? So we're gonna do two shots of you in the same same. Here we go. Okay. Maybe cross placing this way. Yep, that's it. Good. Here we go. Terrific. That y we get two images on the one frame ON camera, no Photoshop. So that we've got Maxine and her twin sister in the shot. Now what we're going to do is we're going to give you six ohms. Okay. Have you done this thing before? No. Okay. So what we're going to have to do, we're going to get you to have your hands down to start with. And then once I've late, you were gonna get your hands leaning on the wall what that and then maybe up on your head. It's important that I just liked Maxine's body once, and then I just liked her arms in the successive lodgings that I do. We're doing this all in ten seconds, so we need to do it fairly quickly. Okay. Here we go. Okay. Me by Zamzee out to the side. Yep. And up to top up on your head. Yep. That's it. Ok. Good. We've got that all in one shot. Yep, that looks great. Alright, we'll change position and do a few other shots somewhere else.
6. Light Painting Shoot Part 2: Now what we're going to do here, we've gone to a lot, Maxine would the city in the background, the buildings, we're gonna get a bit of reflection on that water. So we need Maxine to lean back on her hand. Now I'm going to launch you just from over right-hand side here. So I want you to turn your face this way a little. Yeah, that's great. And just turn your eyes to the camera. Okay, here we go. 30. That's great. We've reduced our shutter speed down so that we get the lot in the city exposed correctly? No, it was a little bit strong with that one. The lots a bit too strong. So I'm just going to cut it down a little bit. So we do that again. Here we go. That was the quickest sweep of the torch so that we expose Maxine and a little bit better. Yep, that's great. This time I'm going to hold the torch down lower and light Maxine just to give a different effect. That's good. I just need to a bit more light on her face. Once again. Maxine, key role I've already hips or that your your legs or out to the side. Just want you to look down at your feet for this one, I'm going to launch it from the opposite side. Okay. So here we go. Great. And once again, okay. Yeah, that's good. This time I want you to turn your face over to the left chip. It's good. Just do one more, just pull it back a little. Okay, that's great. Okay. Now now we've changed positions. We're going to shoot Maxine sitting on this ledge here. I've taken a base level exposure which has given me a fairly vaccine to start with. Among ten seconds at height 100 ISO. So now I'm going to move away from the camera and I'm going to launch her during the exposure. So nice and still Maxine. Here we go. Okay, now that's our first exposure. It's just an overall shot just with some large torch beam in there. Now I'm going to make the beam a little bit less, a little bit smaller for my brush. And I'm gonna paint some of the background as well because I've got that ten seconds, I've got a bit of time to play with. Okay, here we go again. That looks great. Now I'm going to change the angle of the light. I'm going to move more to camera, right. So I need Maxine's face to turn towards camera, right? Yep. You can still turn your eyes to the camera. Yep. That's it. But I'll launch it from over there because we want to lie to her face from the direction who knows is pointing so that we get the most flattering light on her face. Here we go. Nice and ready to launch on the background. Alright, fantastic. Yeah. Can you sit in the same position but rollover on your hip a little bit more, say legs, remove it more out to the side. I'm going to watch you again from camera left. That's it. Yep. Notion still. Okay. Here we go. Okay. You can see the difference in that angle the way I've liter. Now I'm gonna do a little bit more radical side lighting. So I'll get you to do that. Just look down at your at your hand there. Yep. And I'm going to launch it from a lot on camera left almost 90 degrees. Here we go. Just a little bit a lot on that background as well. Now united some careful not to light Maxine twice in the same place. I don't wanna go over her face or a fate or shoulders twice because they'll WE exposure. We got were changed positions here. We've got Maxine leaning against the wall. I'm just gonna take a base level exposure again just to check my ambient light and just see what I've got without any torch. Again, I wanted a little bit of detail in that war, a little bit of detail and Maxine. Now I'm going to get you to turn that vaccine because I'm going to be lot across this way. Okay? Alright, here we go. Now it should turn a little bit further and look straight down the wall because I'm going to be I mean, the torch strike down the wall. Here we go.
7. Light Painting Shoot Part 3: Okay. Now, once you back against the door, if you can say nots and still yep. That's it. So narrow it down to light Maxin from up high. Looking straight at the camera. Here we go. I'll let that handout if you can. Yeah, that's good. Okay. Just turn your face this way, hip and just your eyes back to the camera a little bit further this way if you can't. Yep. Okay. Here we go. Right? Okay. That's good. You see there's a little bit of movement in her address because it's blowing in the wind. But that's okay. Now, because this is such a great door, we're gonna do a couple of extra shots. Can you separate your fate? Here we go. I'll just use a bit of a smaller brush this time. Okay. And one last one, I'm going to live along the wall so I can show that a texture name. So I want you to keep your bottom against the door, but just want you to lean out and looked down that way. Here we go. Right? One more, maybe. All right. Now, what we're doing now we've got magazines sitting on her, on a table over there. We're going to use the torch to launch her in this position. My base exposure is this. I've shot it before just so that we can see. I'll just do another one. Just a nice place exposure so that we've got a little bit of detail in there. I liked the way that those lotsa angling Dan in the background. So we should get those in the shortest. Well, among ten seconds, a fight at 1 100th of a second. Notion still, here we are getting Maxine. Fabulous. I can tell that look good. Before I even say it on the screen. Is Tom, I'm gonna locked her in the sine y. I'm just going to throw a little bit a lot around the rest of the scene. Okay, so same pies, Maxine and looks great. Okay. That's good. Phony. I'm going to change the angle of my life. I'm going to launch. You're familiar with the right-hand side, Maxine, so yep. Just sacrifice that y was still are over this way. Here we go. Okay? Yep, that's the shutter, the naught, that's beautiful one. Okay. Now, Maxine, Can we change the pose? And have you standing in front of this table, please? The feet on the ground, just in the middle of that table. This shot, I'm Dan a lot from directly behind the camera to show you what it looks like. I'm going to hold it up high above my head. Said the lots coming down slightly. And then I'm going to hold it down low and do the similar shot. Here we go. That's just going to make my brush a little bit bigger so that it's a little bit more spread. Here we go. That's great. Can you crush your feet over this time place? Yep. There we go. Great. Now I'm going to launch it from down low. So same exposure, just from a different lighting angles. And we got it looks pretty cool because you get that great shadow on the background.
8. Light Painting Shoot Part 4: So now I'm going to take a similar shot on my fine. I've got to find that Scott proceedings on it, so I consider it to 10-second shutter speed. So it's going to stay taking a picture for ten seconds and I'm going to paint Maxine would the torch the way that I have previously. So I simply start taking a photo and I use the torch beam to paint maxine. There we go. Now we've got ten seconds exposure here, but it only takes a few seconds to light Maxine. So I'm gonna do it from a separate, different angle this time. So can you turn your face either into the wind? Yup. Here we go. It's great. Ok. Now this time, I'm just going to do a little bit more complicated shoot and just let some of the background as well. Same thing again, Maxine facing into the wind. Yep. Here we go. So these are the results that we got on my phone. 10 second exposure with the light painting. One shot to shot, three shots. And so you can do this technique just as well on a phone as you can on an SLR. So we're going to try something a little bit more complicated here. We've got Maxine here on the steps. We're going to I'm going to light here from the front. And then I'm going to pass the torch to tian, who's going to light the steps from the back. So we're gonna get frontline and backlog in the same shot. Now I'm gonna be walking across in front of my camera, but because I'm in dark clothing, it's not going to show. Okay, so here we go. Ready? Really? That's good. And this time I want you to do that pass, but then concentrate it on Maxine's here. Sorry, we get some Beck lied on her hair. Okay. Ready? Push to cross the steps and then just concentrated on her hair. Now for this one, I'm just going to watch it from the side. We don't need you now. Tian. Thank you. Just kinda locked you underneath those bars. Okay. Alright. So I just looked strike that way. Here we go. So we've finished our shoot here at the boss tonight. It's been a little bit chilly and a little bit windy. But we've got some amazing shots. And all we needed was a torch and SLR and a tripod. So you can do this same technique whenever you get the chance. You can do it on your phone as I showed you before. And you can get some amazing results. So give it a go. And I'll see you in the conclusion.
9. Conclusion: Well, that's it. Thank you for watching our class on light painting photography. I hope you've learned a lot. I hope you've got a new technique in your bag that you can use anytime that you need to. Please post your project in the project section, I'd love to see those images and I can comment on them and help you to improve them if you need to. Also, comments are always welcome questions or comments about anything that we do. If you think there's a way that we can improve these classes, we always want to hear from you. We want to try and get better with every class that we post. Also, I'd love you to leave a link to some of your own work. I'd like to go through and have a look at some of the work that you're doing. And I can get inspired with some of the things that you do, as well as you're getting inspired with some of the work that I do, I'll be uploading more classes in the near future. I've got so many great ideas about classes that we can do. And to be able to teach you these techniques. And some of the things that I've done in photography is one of the pleasures that I get out of this business. So thank you again for watching and I'll see you next time.
Warren Marshall, Passionate Photographer
