Mastering Golden Hour - Portrait Photography

1. Introduction : Without a doubt, golden noah, first, one of the most beautiful Topps who do photography. Because in this hour you got all those beautiful golden light that is just dancing off different objects, different surfaces and textures. And Wallace is all happening. You get all these beautiful soft golden used. They present a nice opportunities for you as a photographer to really become prohibitive to capture. Some of them are staining and surreal images. And every now and then, you get handed a beautiful color palette of reds, oranges, pinks, and yellows. In all of this, really as where the magic is actually taking place. This class has been specially designed to help you to develop a skill to capture, utilize all their light, all those beautiful, gorgeous, even natural light. And for user photographer to create some of the most stunning and surreal images. I'm tiring Garrett. Welcome to this class. Mastering the golden hour port one, portrait photography. 2. Class Outline : All right, Let's have a look at our lessons quickly that we're going to be considering within AS clause. Our first lesson, characteristics of golden hour. Now, obviously if you're going to be shooting in the goal and now you need to basically know when does the golden hour actually take place? And then also what is the characteristics that can make up golden hour and what makes it so unique time to capture. And then listen number two, getting creative. Now, this is a good lesson because the simple fact that we get it learn there on how to capture and utilize the light in different aspects from different perspectives. So that is a very interesting lesson again and look at lesson number three using reflectors. Now, there will be times where I might be burden low, or we might just need to bounce a bit more light or bit more color onto our subject. We're going have a look at how reflectors can really come to the rescue there. And we can use those to become more creative. Lesson number 4, composition, though there to regain, to see how composition in the golden hour is somewhat different compared to the composition rules that we normally adhere to within the other parts of the day. Lesson number 5, camera settings. Now again, shooting in golden hour, lot of light, small time frame. That means our camera settings are going to try and interests insert this into the four to number 6. Planning is essential. Now, if you're going to be planning to go to your first shoot art, maybe in a different venue. You need to plan. Keeping in mind when the golden architects place and how much time you actually got to do it. And then project. Our project for this class, we're going to be looking at making a practical application of everything that you have learned within this class. And then I'll find all less than we're going to basically cause or for the few notes for myself, just to inspire you and also for you to take something away. That's what we want to establish in this course as V1, somebody Rican takeaway for ourselves and then we can really make use for us. They'd been said, let's dive right into it. So let's have a look at our first lesson, characteristics of golden hour. I'll see you there. 3. Lesson 01 Characteristics of Golden Hour : If we think about characteristics of golden hour, we first of all, we need to know when does it actually take place so that you can go here and you can play it from there. And if we think of this time zone that we have, it's a very short Thompson, basically, from the Tom that your son clears the horizon in the morning to roughly 60 degrees above the horizon, gives you that small window of opportunity for golden hour. And then the sum will basically move over. It becomes more intense as it moves over to the scar to midday, very intense. There he goes over and then you got laid off to noon golden hour. You got there, period of an hour of about 60 degrees above the horizon until the sun actually sits. Now this is the good thing is because that means taking the speaking we have two golden hours that we can play with. So you got a choice. Are the early morning golden hour, where your light is going to be a little bit more intense than the late afternoon golden hour when it is a bit softer. But that being said, we must keep in mind that that will also depend on a few elements, such as your geographical position, where you actually situated. But could even be things that are around you. You could be staying in an area where you have mountains around you. We have forests around you. This will have an impact on your duration that you have in that golden hour. Then you've also got things like weather patterns, clouds in the sky older that you will find is going to have an impact on that time frame. So it's good to know that if you are going to touch on this later on, if your organ to guard, to induce shoot, it's good to know just exactly when your golden are actually takes place windows, the sunrise and sunset in your specific area. It's good to know that. Now that establishes our Tom zone when it actually takes place, when we golden art takes place. But now, you may be asking yourself, if you're not too familiar with golden hour, what actually makes the golden hour so unique? What is the golden hour? What actually takes place within the golden hour? Now, under normal circumstances, if you think about it, we do photography. We are looking for the best light that we can find. But in normal times of the day, we will find that your son is pretty intense, especially when it's right above us. It's got a shorter distance to travel down before it reaches you. Which means your light is going to be bright as going to definitely be intense when I go. Now, this is where the magic starts, because if we think of the fact that your son is low in the sky closer to the horizon. That means it's got to travel much further before it actually reaches you. Now are what actually happens. We never light is traveling through the atmosphere to reach you. Because your atmosphere that travels through who's going to act as a natural diffuser. And the other thing to keep in mind, one is diffusing the light. Technically speaking, it's actually cutting out. Or basically filtering Toomey say to better word, filtering out your blue light, which is actually harsh and coal. And sometimes it can be pretty intense. So if we felt it out now the blue light, that means by the time the light actually hits us, all dancers of your subject, it is much softer. Acylation teams and it's nice in warm. It also means with a blue like cut out. You're not going to have these harsh contrasts to deal with, which is really a bonus that basically allows you to be working with more even light. So you talking about evenly exposed images at that particular time. Now, the positive effect of all this taking place, that means this light that you know, lift with it actually bounces off your subject of the face off the body. That means they'd like to soft and it's going to be much more flattering on your subject. It's also going to basically create softer skin tones because remember, everything has been folded out and all you're left with now is golden. Use soft tongues. So your facial terms, the tons of the skin is going to be much more warmer, more natural, and much more softer. And that is a bonus if you're working with that light. Unlike other parts of the day right now, after talking about all these beautiful soft colors now, it also has another very positive effect on your subject because these soft warm tones actually affects your subjects moods and believe it or not. So if you think about it, if you had to go out and sit inside the warm sun and just feel the warm sun rays on your face as a common effect. And it gives you a sense of happiness. And this is the wonderful thing about the beautiful use that are created within golden hour. It makes your subject feel happy. They are relaxed. And many times they connect all of this to even emotions of love. So they moods really our change in net. It's important because the thickness the mood is going to basically determine what kind of a facial expression you actually going to capture. So that is a nice bonus or a really positive effect that we really can afford to Ingold and r. And also every now and then. And we want to keep this in mind, heavy nowadays, especially when it comes to the sunsets. You're going to be handed a beautiful pellet of warm color. And that's where your reds, oranges and yellows, pinks and yellows coming. And all of this might be combined into one beautiful frame. And that is going to really be stunning to be able to capture all those colors and put them behind, maybe as a backdrop behind your subject. So basically this is all what is taking place within the golden hour. Having your son, your, your, your, your, your lights being filtered, all the UV rays being Qatar to blue light and that sort of thing. This is a major banners that all being said. Now we've got a good understanding of what actually transpires and golden light. What about what are we gonna do with it now, now that we know when it happens and what takes place whenever we get a D with a slight, how are we going to utilize as like? Well, this is going to not be discussed in our next lesson, getting creative. I'll see you there. 4. Lesson 02 Getting Creative : I must say when I was preparing this particular lesson, I was thinking of how closely connected or the words creativity with imagination. Now you might be wondering, why am I bringing this up? Because if you think about it, our creativity is limited only by our imagination. So basically if you've got a good imagination which we should ever as photographers, your creativity should actually be pretty lost. Now the reason I'm bringing this up is because this lesson on being creative or getting creative, it's going to be very imperative that you allow your imagination really just to, to go low as you can say, because there are so many different aspects of photography or rather aspects of life that we can actually utilize in golden hour. And this is what this lesson is going to be about, is the various aspects that you do get in light. Different angles. I'm placing your subject at a certain angle in contrast to the sun. That is going to basically determine what kind of effect we're going to get at the end of the day. How beautiful it's going to look. Are we really capture the essence of that particular moment. So as we go through this nice and begin to look at these fundamental aspects of light or angles of light. This long directional light imbued with working with we're going to be looking at that. But what you take away from this lesson is going to be up to you. Because this is the fundamentals. We can now take this and we can expand on it. This is they give us ideas and a good basis on which to work. But what you do with it is up to you. So if we have a look at our first aspect of light, if you want to consider as a front lighting. Now, through all these aspects, like I mentioned, remember that we're dealing with long directional light, traveling in a brief short distance through the atmosphere where it will reach you and eventually struck the facial features or the body features of your subject. The light is warm and the light is intense at different times of the day. In this case, if we think of the early morning golden now and your light is going to be slightly loading tense, a little more intense. And in your your late afternoon golden hour, See you later often mean golden hour is going to have software warmer tones as we have already discussed. So just keep this in mind with us. So with front lighting basically is where the sun is striking your facial features of your subject, basically head on. Now. That may also agree fine, and it is very beautiful biggest sure. Lighting is nice and soft, which means your subject is not enough to squint into their names or turning away from the liens because the bright light, heat is going to be soft. It's going to have a beautiful golden you. As we have already discussed. They are the only thing about this aspect of light or this angle of light, that they might be a slight lack of definition on the facial expression. In other words, the characteristics are the nodes that channel the mouth and so on might be not as prominent because you're not gonna have any shadows on the face at this point of time because of you and I liked the front lighting. However, in the same breath, that being said, as your angle of the sun slightly changes, are the going up if you're shooting in the morning, going up or going down in the late off during golden hour. This alone could actually create a slight bit of shadow on the facial features. So just keep in mind when working with direct front light. The nice aspect of, of the lighting is sidelight. Now I person are kinda like side lighting because you have a much broader margin to become more creative with side lighting because we can now actually work with shadows. And your shadows are going to define the characteristics of the face. It's also going to define the different characteristics of the different body parts depending on what you actually want to. Capture in your image. The other nice thing about shadows, because it gives us the ability or the margin to create something a bit more dramatic or even a beautiful, moody feel to our subject. And you can see this very clearly in the image. Now the other thing aside, nitrogen can also be used to highlight or to define certain facial characteristics or textures. But it also keeps, it also allows us to add depth to our model or to the facial expression. This is something that we really want to keep in mind because that is where your creative abilities organ or really come in. Now the nice thing is because this light, especially early in the morning or late afternoon light is going to be much softer. So you're not going to have these very harsh striking characteristics of the facial expressions being two prominent, It's going to be much softer. Initially see, especially in your late, often in golden hour, as your life goes, becomes much softer than the sun goes. Closer to the horizon. You go to find niche. Your whole facial expression is going to take on a different meaning. It's going to be much softer and much smoother. Now, just a little tip. When we think of our cameras sixteenths with side lighting is two, and I recommend you to try using spot metering. The reason we want to use spot metering is it because that's going to allow us to meter or read the light off the face. Remember, we want to capture the soft tone on the skin that actually reflects the golden you. This is the whole idea of shooting in golden hour after all, if you actually think about it. So transport metering, meter the light is bouncing off the facial expressions. Off the facial off with skin, should I say. And see what effects you're going to get there. Coming back with spot metering. Now another aspect of lighting and our Act also kinda like this one that was written lighting. Backlighting. Should we save some recruiters? Rim lighting symbolises backlighting. But basically backlighting can begin to have the light or the main light source, the sun is going to be behind your subject. Now, we've got two possibilities yet that we can work with the two opportunities if we want to call it that. You can other place your subject in such a way that the sun is behind your subject, but also at a bit of a 45 degree angle behind your subject. Now, the reason I'm saying that is because that means we're going to get a highlight on this subject, on their hair of your subject, especially if they've been long head and you're going to get a awesome effect. But because it's at a slight bit of angle behind your subject, more of the features of the hair and slightly on the face, there's going to be highlighted with those beautiful golden you. So try that. Your thick walled differ. It is quite stunning if you just, just move your subjects slightly off from the sun. And then another thing is also to basically to place the sun directly behind your subject. Now this can also create a very stunning effect and are really, really, really dark. This, this, this perspective of light aspect, the light. Because this is also going to give you this almost like a glow around your subject, or seven and a quarter, aka halo effect around your subject. And again, if your subject is got beautiful non-heme, it's going to be great. You're getting good. All their light coming through the back of your, your, your subject through the hair. That is going to really be totally turned to studying. Now another, another effective as can also create with backlighting. If you'd have a subject and you gotta back a dark background or more neutral background. And your subject tends to blend into their background. Just by moving around in, changing your angle. A, you can use the backlight once again to also shine around your subject, also on the here. And that will actually separate your subject from the background. And you can see that also in this image what is taking place here. And the nice thing about this effect also attends to put emphasis on your subject. So separation is subject, but it also put emphasis. On your subject. So that is really stunning effect that you can get by using backlighting yeah, B. Now, these also another beautiful aspect on that is that you can also use backlighting if you have your timing is right. Maybe a little bit late in the afternoon or early in the morning. Once again, when your son has low, is that you're going to basically create or more of a dreamy soft effect on your subject and more of a surreal effect depending on where you actually staining. This can also be another idea that you can really explore and make work for you. Now then another idea that we can play with that we can add to backlighting is the use of translucency. Now, translucency is also very beautiful because it can really add a bit more of a dramatic effect to our subject or to our image. And like I say, this goes very well with backlighting, especially depending on what part of the body via light is actually shining through. So if we think of when it comes to translucency, if we see in this image, we can see that the transducing part of the image, in this case, the subject's head, is going to have a more intense, unfiltered. In other words, your light shine through these actually energy being much more tense. Where's the peak area? Or they are part is much darker. And put this together, it makes sure the subject seemed to glow. The hair actually seems like as glowing. So it's a very beautiful effect that you can actually get catchy. And you can see this is actually being taken from the inside of the hassle of bullying, shining art. And what made us even more dramatic is the fact that it wasn't back a dog backdrop. So it's important to keep that in mind. If you really want to add intensity there, have your subject being placed on a dark background. It's going to also create much more, a much more dynamic range or dynamic feel to the image. Now, just a little tip to keep in mind when working with this idea. It would be really awesome if you can actually capture the golden glow, shiny through the transparent or trans, Lucent part of your subjects are their hair or through the dress, as we see in the images that's in front of you. And by doing this, this will capture a really soft and warm effect with actions producing effect. Now obviously, it's up to you how to make this work for you. But the idea is they pay attention to opportunities which you can use for translucency, the hair or the clothes, anything like that that can be used in this manner. Now again, if we think of our camera settings as a tip again, try to use again spot metering, but also measure the light or the light storm of the facial expressions because we still want to capture that information and possible automatically your camera it has gained to capture the more intense lighting on your subject it at this particular moment. So try experiment again with spot metering. Now, another great aspect of light. We can use the silhouettes, and I also love silhouettes. There's so much you can do is center. It's really, you can create the most dramatic and mystery to your, to your subject or to your frame. You can do wonders with silhouettes. Now I know what you think in that as well, but it's easy to shoot silhouettes. Just add a camera into the light and your subject is going to be black in doubt and it's all good. We got a beautiful silhouette. But it's a bit more to it. There's a bit more to grade in a stanine, an attractive silhouette. Now in this case, our camera settings and I'm going to change now Boucher memory. We want the silhouette. So we don't want to capture the information on your subject itself. We now going to change how exposure our focus now to the light behind. So there can be a beautiful orange sky. It could be a sunset with all these color palettes in it, the reds and oranges and the yellows and pinks, which will technically speaking, being much more stunning. So you're going to basically take a camera, you're going to shoot off. Take your focus away from your subject and you go to spot metering. Meter on your background was time. No light. Now what are medically doing that, that means your subject immediately has gotta be black. Okay? Now here's the tricky part. Once you've got that exposure right, And you're happy with that color. And you meet your, your readings are showing the correct exposure you have you that bring your camera back to your subject and change your focus, but not your exposure. So you're like teen stays the same. Now what a medically your camera is going to tell you that your picture ticking, you speak, is underexposed. And that's fun. Because we actually, in this case, we want the subject to be actually under underexposed. Once you change your focus back on your subject and you're happy with your lighting. Then only then can you press the button and you can capture the image. Now, the reason we do that is because like we say, we want to capture the color on the back and the background. We don't want the colors there to be washed out. So it's important that we try this technique when doing silhouettes. We want to keep it in mind. Now again. Yeah, that's easy to capture silhouettes, but to define your silhouettes as really important, it makes them more powerful composition. So if you also look at the image that you have in front of you now, it's important that the different body parts, if you want to accord this, is discernible. You can see now the arms, the legs, all these things are well discernible. They'd be placed in a very good posture. And this is very important. So your silhouette must be recognizable. Person must identify what is your, what is your silhouette? What do you capturing? And it can add a fantastic effect to your, to your composition. Now what that also, if we think of your imagination, now you can see in this image how the subject has been placed in connection with the actual sun and what was actually created, the effected was created. So your subject has been highlighted. Your subject stands archer. Would this beautiful golden sun or reach some in the back. So yes, some really awesome ideas that you can try out. And like I say, your imagination is the only limit that you have to your creativity. So these ideas that we touched on, take these ideas, these are just fundamental building blocks that you can use in golden hour, the different aspects of light. Take these and explore them, experiment with them, and don't hold back on ideas. Tried art. Your results are going to be stoning. You're going to really be very satisfied with what you get out. Now all that being said, the will be times we're Region I have to add just a bit more light on our subject. Gowns just set another but more night or limit but more for light on our subject, especially when the sun is setting. How are we going to do this? Well then our next class, using light reflectors. We're going to touch on a few ideas on how to take reflectors and how do you be more creative with reflectors? Remember, we want to broaden our rising and imagination on capturing this light and using those, utilizing this beautiful light. So next lesson, using light reflectors. I'll see you there. 5. Lesson 03 Using Reflectors : Well, now if you're doing portrait photography where there it's under normal light conditions or it is within the golden hour. Having a reflector as part of your photography as a defendant must. And the reason for that is that you can control more light. And if we keep in mind what the whole idea of photography is, is to capture, manipulate this light and basic in Mecca life do what we wanted to do, what we needed to do, so that we can create the right effect that we actually offer. So heavy the reflector. There's definitely important, especially now within the golden hour, because it's going to allow you to capture more than lighter, just done some of that beautiful for light back on your subject. So that's what we're going to be considering as how we can use these reflectors. And the nice thing about reflectors, you can actually even use them when you were there a somewhat over cost. So even when your life is a little bit low, you can still use reflectors. Now. You get these reflected kids that come in packs of five. Now with the net reflected kit, basically these three factors that actually renew reflect light. And that's your goal, your solver, and then your white reflector, which is a bit more softer. But now for this lesson that we are considering now, we're going to basically be looking at just two of the reflectors. We're going to look at the golden one. And in also the solver on. Now, the decision will be yours. Which one you're going to use. Because it's going to basically depend on what your intensity of your lightest had a particular moment. Especially if you shoot in either an early morning golden hour or if you're shooting later afternoon golden hour. So the choice is going to be yours. Now if we think of the golden reflector. And the golden reflectors, really a beautiful reflected to use within the golden hour for the simple fact that it captures and also amplifies the golden you of the sun, which is really stunning. And this can really be used in a real effective way, especially with your subject has pretty fair skin. And you'll be able to just put a bit of this woman light onto your subject. And it can also enrich in the skin turns or the silver reflector. Now the soul reflected in this case also reflects, in my personal opinion from past experience, it reflects much more light. Your silver reflector also, the color tone is a bit more cooler, but it also reflects a high-contrast light quality. Which means basically that you're lighter, stronger. And it's going to reflect much further, which can really actually be used especially when your light in golden hour is so low. We now took to keep in mind that took was there when using the silver reflector, be careful that you don't stand too close to your subject because they're litres a little bit more intense. It can actually, if you shine it directly into your subjects or your model's face temporarily, for instance, you can actually rely on them. And a negative thing about the U-Net is the fact that you can actually, in a second, you can use it at facial expression in that split second that you just about the depression exposure button. The whole mood that you have worked so hard to capture or to create can be lost just like at any instant. So it's very important to remember when using a solar reflector. Just back off a little bit, but more further and just a bit more subtle angle. And it will still allow you to use it as a beautiful full light on your subject in this case. But now if we think of the angles of reflectors, how we hold them, is it important when you think of what angle we hold them? Is it important that we consider the height and the angle of our reflector on a different sheet is that it really is important because if we think of how our actual natural light source is the sun and this light, natural light source role, it's shaded above us. It doesn't come from below, it doesn't it's not position there. It's positioned on top above us. And even if we are shooting at a low with low angle light in the golden hour, that Sun, our main light source, typically speaking, a stall actually above us. Now you might be wondering why, why is it so important that reconsidering this or what is the point with the pointers? If we think of what the sun actually does, that mean light source as it moves up through the sky and moves? First of all, yes, it's cost in light rays onto an object or in this case our subject. But when the light rays hit the object, it, it lights it up with dancers like dwarf. Be now it's also doing something else. And this was also important to keep in mind. It's actually casting shadows. It's creating shadows on the particular objects that have a shining onto it. So why is, why was it important? Well, as it moves, the shadows on the object, also move. Now these shutters basically allow us to identify the object's shape, which is very important. It helps us to identify also different characteristics of the shape. It also helps us to identify textures of this or the shape of the object. So this is very important to keep in mind. Because if we, if we hold in our reflector in the wrong way, what the wrong angle, what could actually have to happen is that we can be creating unflattering shadows on our subject. So the thing about that is if the shadows in the wrong places, it's, it's going to create an effect that is not guaranteed to be true to our subject. As a matter of fact, if you capture the shutters in the wrong place, you could actually be creating what they call a zombie effect. So that means it, Rica end up with shadows, dark shadows under the eyes. It could be dark shadows above the nose. It can be even on the drift of the Chun. So it's basically against the natural lay of the shoulders where they showed us should actually be considering our light sources from above. So that's something that we want to keep in mind when we hold our reflectors and why we actually hold reflect his likeness. So you've got basically three main points you want to keep in mind. Is your, your, your angle, in other words, your height, your distance. It's also very important. And the angle at which you actually move your reflector. This is going to determine what effect you as a photographer who are going to capture at a particular moment. So let us, let us consider a few reflected setups that we can actually use. Just fundamental steps that will basically allow us a broader margin on too bold to build on with ideas into become more creative. Now, our first one is by just using one reflector. Now. But keep in mind that we still use in the sun as our main light source. In this case, what we're gonna do is we're going to have our subject now place between us and the sun. And now there could be looking directly at us at the camera or there could be slot yet a bit of an angle. But still we be taking that picture towards them using a one reflected here. We're going to now use the sun as a rim light, but also as a main light at the same time. So if we take that one reflector and we now hold it at a bit of an angle. Remember little bit above. And we just move the angle and the distance is right. Then reading ability corrode some beautiful soft, full light, which if done correctly, is going to allow you to create some great dynamic light on your subject. Lets the first one, then our second one is using to reflectors. Now what we're gonna do, yeah, we're going to use the sun as a rim light. Now if we place one reflected close to our model, who are suddenly region in our use this main reflected as a key light. This one is close enough to our model. Then we're going to use a second reflect in this case, but on the other side of the subject. And we're going to take it back just a learner bit further. And we're going to use this as a Fulbright. Now, the whole idea of the main light, the key light, is reflected at close to our model. This is going to be basically the one that's going to highlight perform in their dimension of the subject. The second reflector that's being placed on the other side. Let's take it a little bit further back. This one is going to be our full light in the sense that it's going to have a much more softer lighting intensity that it reflects back onto our subject. So the heavier the one as a key light and the one is a full light. Now what we can do you can also as a third step, you can actually even bring in a third. Reflector, if you take it in your top or down, you can use that reflect or also to basically create a bit of a more distinct highlight. Or you can actually use it as a cash right? Now, obviously, if you have an assistant to help you with this, these experiments, it's going to be much easier for you. So you can also keep in mind, you can recruit somebody that can give you a hand in holding these reflectors. So if we, if we take now these techniques, then we work with these techniques as kinda basically allows the opportunity to experiment, to learn how to actually manipulate this light. And remember, we want to make the light do what we wanted to do, to shine in places that we wanted to shine. So spin a bit of time on this and really experiment with it and have fun, but make it work for you. Now, if you don't have a reflected kit. Now remember when I started out photography some time back, spent all my money and are basically abort my camera and the notebook. I know many divinely reflected kids or anything like that. If this is your case when you're working on a low budget or you just don't have a reflected ketone you a good news is you can make one. Now a little while ago, are made this reflected, this was monitored for us to reflect on. And quite frankly, I even use this reflect our right up until today. And it works very well with me. It's a hard one because you can see, but it works just great. So if you want to and you cannot afford reflect a kid and you came just by using the a normal materials that around your household or even line around the garage. You'd be surprised what a beautiful reflect you can actually put together. So if this is a case and you're interested in doing that, give me a linear comment below, and I can give back to you and I can give you some hint is if you want to and how you can create and fabricate your unreflected. Okay, Now if we think of the low lighted V or shooting in, they might come a time where flesh is going to be needed. You might just want just that extra bit more light on your subject. If this is a case, this is where I introduced this little baby, a minibus reading others like this is an external flash or what is commonly known a speed light. Now, I would recommend this. If you need a flash to go with some innocuous. The reason we go to the flesh or the external flush with a speed light is pretty simple because you got your controls in the back. And these controls will basically help you to set the actual intensity of the, of the flash, the light itself, or even the pulse of the light, can also all be controlled in the back of the flesh. The other awesome thing about it is that it can rotate. It can rotate. And they gives you the leeway on how and where you want to bounce that light. Now, keeping in mind it flashes can put out quite a bit of light. And if you don't sit at the right, you can actually maybe even wash out some of the colors on your subject. We even overexposed them. Remember we want to set it to the intensity that it actually complements are soft, low, even light that we're working with in golden hour. So have you ever been nervous of the intensity of the light years it took? But you can also work with, you can actually take a reflector, set up a reflector to the angle of your subject. And you can aim and bounce this light onto yours, onto the reflector. And it can actually be belt back onto your subject from the side or from a nice subtle angle there. It will still allow you to retain that beautiful soft, angular light, that golden you and that you will not overexpose your what your, the color on your subject's skin tone. So with that being said now, with all these techniques that we now basically looked at in this section on reflectors. What are we gonna do with all of these elements in these techniques that we learned? Well, we need to now be able to take these elements and take all these ideas and make them work for us in just the right setting. So that's what we're getting now Hubbard looking now in our next lesson, how to use this in the right setting in, in writing environment. Their lesson, composition. I'll see you there. 6. Lesson 04 Composition : When we consider this class, it will be a big help if you have a good understanding of the exposure triangle. Understanding the balance between your shutter speed, your aperture, and your ISO. And the reason for that is because we are going to be dealing with a lot of low light when we actually start taking photos in golden hour. When the sun is coming up early in the morning. Or especially when you're starting to sit late in the afternoon, you're going to have to be able to work with low light and to try and balance out. Those few factors will shutter speed, aperture, and your ICER. So it'll be good if you have an understanding of that, especially doing this clause. Now if we think of our composition that we're going to be looking at in golden hour. Now, we just have a reconsider again, what is the objective of good composition and good composition? Our first objective is we want to draw our viewer into the image. I can. Then our second pointers we want to, in composition, we want to create interesting points of perspective or different intersection points. We want to do that also. Then obviously third of all, we want to try and find elements in our composition that is going to draw attention to or emphasize our subject or object that we are placing in this composition. So that says, to recap, what is the object of good composition? Now if we think of composition V, or quite a few complicated rules of composition that are being used in photography. But because we are dealing with a very limited opportunity or Tom Frank in golden hour. Remember our son was going to either be raising very quickly or it's going to be setting relatively quickly. So the time frame is very short, which means trying to utilize these complicated composition rules can become quite challenging and time-consuming. Which obviously Tom was not going to really be something to enhance at this stage. It's going to be probably be crunched up. Now. So for this course, what are we going to do is we're going to look at the rule of thirds. Now the rule of thirds is a relatively simple rule of composition. But it also can create some fantastic opportunity to be able to put elements together in perfect balance and we perfect harmony within our image. So if we have a look at the rule of thirds, What's nice about the rule of thirds is that basically it's utilized a new exploiter, exploiting the humans ie, natural tendency to gravitate around in image, to view what's their budget come back, install wrist on the actual focal point. In this case, it's going to be our subject. But the rule of thirds does also something else for us in the fact that it allows us to whore rather than encourages us to be more weary of our subject placement in an image. And in another point there is that it allows us to place objects of interest on the different lines or the intersecting points on our grid lines. So the Yb talking about a grid line is if you've got your camera and you look at live view mode, if you switch it on the live view mode, and you've got your LCD screen in front of you on. For those who are not familiar with the rule of thirds, you can actually set your camera and the mean you two, grid display or GridView. And you'll never choice C on which you want to use. So choose the rule of thirds grid there and get there on your screen that actually assist you quite tremendously when you are looking at subject placement. Now if we look at subject placement on these lines that you're going to see that R provide us with the rule of thirds. The Han idea of the rule of thirds is to bring balance into your image. So we're going to have vertical lines and we're going to have horizontal lines. Okay? And you'll see that your screen is actually divided up into three different sections, vertical and horizontal. Now the nice thing about the rule of thirds is like we mentioned to you, you can it be able to take your camera and when you look at your scenario, you can in your mind, you can visualize how you going to balance out your image. So you can see exactly your subject, where exactly you're going to place your subject on this grid line. In order to bring some form of balance. Now, just, just a tip as a general rule of thumb, what do we do? What is a good practice to do is to basically place your subject on the opposite side to which they are looking. So if they looking to the right of the frame, we're going to be basically placed in the subject on the left hand wind, one of those lines on the left-hand side. So that will basically prevent the idea that the subject is actually not just looking into nothing, but the subject is actually looking into the depth of the scenario. So if we now use those lines now we can place any object, whether it is rocks or polls or anything like that. We can place them on these lines to bring imbalance. But also we can use it to bring our attention, focus to our subject. Now, with that being said, various something now that we can really consider to add into our image or into our composition, that's going to make it even much stronger. Now we've touched on now leading lines, taken our attention to the subject. So these elements, we want to indicate luck, leading lines, symmetry, diagonal lines, and then also repetition. And now all of these different elements we use to put into a frame or into a composition. So once we have observed our scenario, we can look at it and we can identify what exactly are we going to use in that scenario, what IT admins can be used in that scenario. That's basically dinner. Compliment our subject and add volume. Am interesting points to our composition. So the good thing to do in this cases, look at your Sonora, visualize and identify what is happening in your scenario. What can you use? What is powerful, that can basically be used to draw attention to our subject that we can also use to maximize, in this case, the BYU for golden colors in golden hour. Remember that's what we actually want to accomplish. So it could even be implemented elements that are going to allow maybe light reflecting off or maybe extra shadows. Or like we say, that's gonna draw attention to our subject. So let's just break that up a bit. If we have a look at our first element leading lines now we can see in the image that we have. In this image we have radians that is taken our attention to our subject. Okay? But now it's also doing something else. The radians are actually going to post our subject in taking the viewers attention towards the sunset, towards the beautiful golden colors that are in the background. Can remember this is what we want to capture in our composition. Then we have symmetry. Now we can see the symmetry basically besides affected X is leading lines. It also does something else in our composition. It's in balance. And this is also very important that we want to also create within our composition. The symmetry gives us depth, has taken us char subject. It's taken as further in our subject, into the picture, to the background, again to the color. And then we find ourselves following our way for the viewer finds his eyes coming back on the deck, which is repetition towards the subject. So in these different elements, tangent always comes back to the subjects. So this is actually what we want to capture. Now. The other thing is this diagonal lines. Now, diagonal lines can also be used to draw persons or a viewer's attention into the subject, or how soon into the image taken our attention to the subject. But it can also create shapes. In other words, interesting points or interesting things to have a look at interesting perspectives. So it is good to be able to look into use the Noria and to identify all of these elements. Now, in the beginning of my check your little while to be able to do this. But with practice, it will allow you to have a look at your scenario, identify or your elements, renounce what you're going to use. What are your strong factors? What are you not much strong factors, and include that into your composition. Now, once we've done all of this and we happy with this, we happy with what it's doing in our image. Drawing our attention to our image, we maximize and the golden colors and all the golden. Use your happy about that. Check the click and take the photo. So what is very clear in what we've just discussed now as the very fact that our composition that we use in the elements that we're using inner composition to create it is not detracting attention away from our subject. It's actually complementing our subject. These elements are complementing the golden hour. And this is really what we want to achieve, in this case, in composition. And in this way, composition and golden hour is different than in other parts of the day. Now that being said, now, a lot of this is getting now depend your lighting at that particular moment. How low is the sun? How strong is your light at that particular moment? Because that is going to basically determine how you're going to go about being creative and utilizing all this information there is in front of you. Remember, we want to create magic in Goldman are. So keeping in mind that the rule of thirds is a rule of composition. But we want to keep in mind that compositional rules or guidelines as executive what the other guidelines, they're not fixed laws. So every known then as photographers, as artists, we want to expand our fuels, want to expand our star. So as artists, we will be in the rules of that. We were combining different factors together in order to create or to capture just the right composition or just the right effect that we want to get within this beautiful golden hour. So experiment with these things. Remember, you want to create your style. That's what you wanna do. So take these elements, experiment with them, make them work for you and grow as an artist. Now, throughout the class, we have been touching on camera settings. What kind of camera settings we're going to be using, especially that less than we had in getting creative. On next lesson, camera settings. We can have a look at somebody's camera settings in just a bit more detail. I'll see you there. 7. Lesson 05 Camera Settings : Cameras settings in golden hour can become quite challenging for the simple fact that you have lighteners changing pretty rapidly. You get a very small window of opportunity to operate him. So understanding your fundamental building blocks, door, shutter speed, aperture, and ISO is crucial in golden hour search. You know, just hard to bring in just the right balance. Now although your settings, your camera settings are going to be changing, your exposure principles are going to basically store stay the same. So there is a good start to our camera settings for this lesson. Now if we look at this, if you think of a format that we're going to be shooting in, it's recommended that you shoot in RAW format. And the reason why is we are shooting in low light to reall, working with warm, soft colors. So we want to make sure that we can retrieve all the information out of our image. And this is what raw format is going to do. That is going to allow us to retrieve anything. But if it's a low contrast, high-contrast area is going to allow us to do this. And when we think of post editing, we also are going to be able to have full creative control over your photography or over your image that you have basically captured within this golden hour. So just that alone is really, it's a lot to, to, to consider those being influenced. If we think of you, if you, if you shoot in shape pig, the files are going to be somewhat compressed and net's can actually limit your creative power over your images when it comes to a post editing. So look at raw format, that is definitely the way to go. White balance also is, there's also a quite tricky for the simple fact that if we think of animal all circumstances, if you sit your character, your AWB, or your automatic white balance, it does a pretty good job under normal lighting situations. But when it comes to shooting in golden hour shooting on automatic white balance king actually produced laws, an image that actually look a little bit washed out order but cold. So I did these circumstances. So ultimately white birds, He's not really recommended shooting and golden hour, remember, we wanted to retrieve, we want to capture all the Golden you. We want to exploit them. You want to make it work for us. So setting that you can look at them if you go to order a higher, if you go to your white balance and you set your camera to your clarity, cloudy has gained GDP adjusted or warmer tongue to your image. It's going to allow you to capture those warm colors in the more natural setting or lighting conditions. If you find that there also is not quite working for you and you want something a bit more specific, then you can go into your custom settings and you can send, send it to what you actually are often remembered all girls about the effect. They use a photographer once you capture. So you can look at maybe a Kelvin of between 34 thousand. For they will also allow you to capture their warmth in your image and allow you to basically produce warmer skin tones, soften your colors. And you're going to get an enriched theta is going to be nice and it's a beautiful effect. That's what you're going to end up with. So those two settings, those two things alone of something that you can consider. Now, we know our class up until now we've been touching on our metering mode. Now on a few occasions you've no doubt, Remember how we spoke about using spot metering. Spot metering is quite a Magic City to use for the simple fact that it is going to allow us to capture images in high contrast areas. Because spot metering, the basic it, its name gives it away if you're not too familiar with Spark reaching. And an IOC to basically meter offered a very specific area on your subject. Now if we think of the fact that we want to basically capture a warm skin tones within the golden hour. So your spot metering is going to allow you to focus on the skin. Give us the correct reading that beaking center exposure according to that. And it's going to allow us to capture those won't cause without having these colors to be become actually washed out. On the other hand, also, if you're going to be shooting maybe b onto a subject is going to allow you to focus your control on the colors behind the subject. And you're going to be meeting of debt, which is going to allow you to get the correct exposure settings for that particular color. So in this case, spot metering is an incredibly effective seating camera setting. It you can really consider. We also touched in getting creative. We spoke about the translucency areas. We spoke about shadows. So spot nutrients can help you to focus, focus on those specific areas, other on clothing or here that you want to basically capture that, that intensity of light that's going to help you to get the correct exposure for these situations. Also shooting shadows if you want to capture shadows. In our course, we touched on shadows and how we can bring a dramatic effect to our image by inculcating that is shutters. So you can either choose to expose for the beautiful tones on the skin, or you can choose to meter for the shadows, which is going to give you that little bit more of a dramatic effect. So have a look at spot metering, trust spot metering. And you're going to really be amazed by the effects that you're going to capture using this particular city. And if you're going on your mean your, your belt to track them down for your specific model of camera. If we think about shooting modes. Now, normally if you shoot in a semi-automatic mode, you could actually end up with pictures that are going to be R, The overexposed or underexposed. So unfortunate thing about the semi automatic. So if you have to choose a setting, if you can, if your camera it allows it, and also if your eyes are going to not go with manual settings, it's going to allow you to have full control over your camera. In other words, you're going to be able to use the utilise a full potential of your creative power of your camera. However, that being said, if you do find yourself in a situation where you're going to have to shoot in semi auto mode. Now, you can be able to problem with your eyes, maybe focusing so forth. Or you can just be basking in possession of a camera that can only shoot in those carbon most, then I would recommend shutter priority or aperture priority. But with it to a winged assigning to use these settings or these modes. Think of what your, what is your goal, what you want to achieve? Are you shooting for a depth of field? Maybe specific, either shallow or deep depth of field. Or are you shooting at you in order to capture maybe motion blur or maybe even crispness in movement. So that you're going to have to ask yourself, what is your objective, what he actually after? When you want to take these shrubs. With that, this is where exposure compensation is going to come to your rescue. Because you expose a compensation is going to allow you to have just a little bit more control over these modes. Basically to try and avoid it should best ability to avoid overexposure or underexposure. So my recommendation is become familiar if you're not really with exposure compensation. So you can help you to basically entertain and just the right exposure. Now we keep in mind that the light is changing. The lightest HE either other rapid rising, what's busy setting and the colors or your terms or even rather your color temperatures are changing dramatically. So just a warning. Keep a close eye on your settings all the time. Byui to change your settings to compensate the warmth of the light. Now, just a little tip that can, somebody that can help you there become familiar with the histogram on your camera. If you switch it on to live view mode, you're going to see the histogram, read that information and carefully observe that information. Another to form U of which YOU exposure needs to go. What is happening in the light around you? This is really, really important. Now if you think about the fact that again, it has a short period of time, there are considering in the light is changing so quickly. It's not possible to cover all your camera signals in this particular lesson. So this was going to Boesky dependent on three basic fundamental factors. If you think of subject and your light conditions, that is going to be first. Your second is the effect that you as a photographer who are trying to achieve. And the third, there's going to be or specifications on your lens and obviously your camera, as we've not really touched on, all of this is going to basically be a give us the result of what we are actually looking for. Or rather it's going to determine which way we actually going to go. So the camera settings are you going to be using? Really has gone into pinned on the effect that you as a photographer are looking to capture. Paint their particular moment with their kind of like, right. So what is left? Well then our next lesson, we're going to be considering planning wise planning solar central. Remember, we want to be able to capture and exploit this golden element to the full. We want to make it work for us 100 percent. We need to plan for it and make sure that we read. So next lesson, planning is essential. I'll see you there. 8. Lesson 06 Planning is Essential : By now we've ascertained that the golden hour shoot in the Goleman is indeed a very unique time to shooting where you can really capture a lot of magic. Now, keeping that in mind, that means photographers are going to be prepared to travel long distances to guard to location, and to go and get those special magic of shots. But before we get to the point, we still need to consider just a few more things before we actually do the shoot. And one of them is just to remind us that the golden isn't specifically at fixed hour that we're going to have to work in. You're going to have things like weather, annual, geographical position that is going to affect that Arlo there we're talking about as we have considered a 3D. So yes, in that sense, planning is essential. The next thing you have to do is to find out or establish for when exactly is golden hour in your specific area. And that is very crucial to do so. You can plan ahead for this. The is the odd golden hour calculators that you can download or you can actually get online. That's going to basically also allow you to take all the guesswork out. I'll try to figure out when actually does the sunrise for Windows, the sunset. So check their dark, the Golden our calculators, this quite a few them, but actually on the Internet. Now the next thing before we actually plan the shoot and we take our clients out there or your subject out, then you go through this shoot. Her, there's something else that we can do. And this is where we can say to us on a road trip, because this is it. If you can, if it's in your power to go to the location beforehand, go check out their location so you know exactly what to expect when you get out there on the day of your actual shoot. Now, why is this so important to God beforehand? Well, first of all, we working with the golden hour light. So we need to study the nature of the light. When we get our 2 to the location, we need to see exactly the nature of the light at the time of sunrise and also at the time of sunset. What is, what is it like? How strong is the lighthearted tensors, the light? We need to monitor that very carefully. And then also even the sun's projectory as the sun is moving up and over. Pay close note to that. As the sun moves over, have a look at what shadows it's actually going to be a creative and also on what points of perspective or what points of interests the sun's going to be casting shadows on, or maybe even reflecting off how this is all going to help you plan for your, your composition. So pay close attention to that. Then also going out to site, it's going to basically you to walk around and check out all the vantage points that you can use. This was also very important and I'll tell you why and yet comes to tips for when you're checking out these voltage points. Remember that you are thinking, good composition. You thinking to yourself, subject placement. How can I place my subject so that I can maximize the golden light or the golden color effects within the hour. So visualize their composition seat in your mind, how are you going to place your subject or where you're going to place your subject, that you can get there. Beautiful golden light. Tip number 2. Commandeers, so on to come and help you recruit a family member or friend, take them out with you. Let them pose in these different vantage points. And that's a good tip, that, that's a very good tip. It let them pose at these vantage points. Take a couple of shots, snapshots. And why you doing there. This is going to allow you to play around in check with your camera settings. The reason being is when we arrived the on that day of the photoshoot, we don't want to spend too much time trying to figure out what camera settings are we going to use? Because when you look again, the light has gone. So check that out. Play around with the camera settings, get familiar with it and make sure that you know what setting you're going to use, in what direction. So that you can maximize their beautiful light. Then is one more thing we need to check out our weather chart, find out the weather forecast beforehand. Now there's a good reason for that because we try to maximize their golden hour life because that's what it's all about. Capturing the light are repeated at quite a few times now. But you're where they can bring clouds onto the horizon. Now your cards use the boulder up early hours of the morning or late in the afternoon. And this could basically maybe rob you of some of their time within the golden hour. And you might find that you don't quite get the golden light that you were expecting. And that could end up actually in a waste of trip. So checking the weather forecast beforehand is a good idea. However, if you are out on site and you see the class Boolean I've done being a hurry to write the day off just yet. And I'll tell you why. You need to be adaptable. Because when those crowds come up, this can actually be a time where you can capture some really beautiful and stunning shots in a very creative manner. So be prepared to adapt. If you are out there. Adapt to the situation. Now we think of the light that is going to be changing very quickly. All right? That beautiful warm, soft light, that dimensional long light is not going to stay like it for very long. So we need to, we need to work pretty quickly. Therefore, it's a good idea to, especially with post editing in mind, shoot as many shots as you can within there timeframe. This is basically getting gonna allow you the opportunity or the diversity to choose what shots you want to get, which shots captured the effect that you, that you were looking for, which shots aren't. So take as many as you can and maximize their sunlight or that beautiful color. Why did you get in there and maximize it? And again, don't forget to watch the clouds. Watch for those clouds that are building up. I'm repeating that again because those crass tend to sneak up on a photographer and you can lose a few good shots. So that is a couple of pointers and a good couple of thoughts that you can keep in head when planning. So you can basically see now why planning is essential. It is a short period of time. Nine out of ten, you're going to be driving a long way to get those specific shots. That timeframe is changing very quickly, that the colors are changing very quickly. You have a limited time to get as much done as possible. So what is a few thoughts of biggest takeaway here? The first thing is, yes, sometimes shooting golden hour is going to require you getting up early in the morning, getting out of their comfort zone, maybe heading on our tour location, which pretty calls maybe even a little bit must yourself in the beginning. But as always, you got you good cup of hot cup of coffee with you. You gotta done, you're good at sorted, you'll be right. So there's another pointer. Don't forget to take your hot cup of coffee with you. Now the other thing is java Manuel, R2 location do not let off to ensure. That could mean that you're going to be arriving home late in the afternoon, baby early evening. But the results that you're going to get from making these sacrifices are going to be immense. They're going to be satisfying, they're gonna motivate. And they can inspire you to want to do more, to capture more, and to become more creative. So when you prepare to sacrifice, be prepared, to be amazed because you get a gift that you're going to be amazed at the results that you are going to capture and enjoy your rotor. Next, our project, of course, project slash practical session. I'll see you there. 9. Lesson 07 Class Assignment : Well, welcome back to our class assignment. This is the opportunity now that you can get now to basically paint your vision by taking everything that you've learned in this class and really going out there and creating something magical. So this is the opportunity. Now, what I've done with this assignment is actually divided into two talks. And each task is going to basically focus on line 18 and a different technique that we discussed in the lessons that we've just had. So our first task is going to be exposing for skin tones in different aspects of light. Now remember in lesson 2 and gain creator, we discuss all those different aspects of light side lighting, rim lighting, translucency. So we're going to be capitalizing on that. So your first mission is going to be to compose and capture three images. Now the first image is going to be utilized inside side lighting. The second one is rim lighting, and in the third one is translucency. Side lighting. Rim lighting controls recency. And then if you do have a reflector as we discussed in our class, please by all means, use that refractor. And it'll allow you to become a bit more creative in the images that you are going to be capturing. The elements that we're going to also inculcate as what we discussed, the different composition I had once. That will help to lead our viewer to our subject. Remember reductive leading lines, symmetry and diagonal lines and repetition. So for this task, also utilize at least one color compositional element. Or even if you can't, a combination of elements which is going to really create a beautiful, powerful composition. So I encourage you to do that. The challenge that's going to come with this task is going to be this to avoid over and under exposure of the skin tones. Remember, we are focusing on exposing correctly for skin tones. So avoid that. And also to make sure that you capture also detail when you take these, these shots. And then please avoid City waiting with this task. We don't want any silly waiting right now. And then the second there is your, your background must retain and maximize the warm golden colors of golden hour. So those are going to be your challenge. For this task. Your second task is going to be creating silhouette. And you can have a lot of fun with this creating soda wet. So yeah, I want you to compose and capture two images, creating a silhouette. A technique that you're going to be using. Here's what we discussed in Lesson 2, 4, correct exposure and focus. While retaining the warm, natural golden use that are going to be and neatly around your subject or maybe even back in the background. Who challenge here is going to be that your subject must be blacked out. It must be a beautiful, clear silhouette image. Okay? Can your second there is to make sure your image or your subject has clearly defined. So in other words, the lungs or the different objects that they touch in or they attach to. Remember what you discussed, those all need to be clearly discernible. So to make sure that this composition is beautiful. And then I've added something extra in year. Write your story. Now, basically I just want to encourage you to share with us. When did you capture these images were utilizing morning golden hour or late afternoon golden hour when the year about that. And then I want to review what inspired you to create these compositions or to capture these compositions. I really like to hear your thoughts there. And optional if you can share your camera settings with us, It's always good to consider these, especially when you're sharing this knowledge with others. Now, my tip to you is this, that for both of these tasks, you need to go back, as we say, and look at the lessons that we discussed. Kidding, creative, listen to composition guidelines in S and four, and camera settings in lesson 5. Go back there, you can consider the techniques that we used, although we spoke about and utilize this in this assignment. Now requirements for both tasks for that. First of all, I'd like to see you use both formats, both vertical format as well as horizontal format when you take these photos. So that is something that you need to consider in the game. Or the images must accentuate or emphasize the subject while retaining and maximizing the use of the golden colors in, in golden hour. And then again, just a reminder, we're going to be using yellow, the composition rule, the rule of foods in order to just help you get your subject placement and also to get your balance in your scenario and in your frame of your camera itself. Heni third law, don't forget to post your images. And the project gallery, we're really looking forward to seeing those images. Now the equipment that we're going to be using, the cross, we have basically been focusing on the use of a DSLR. They can shoot in manual mode and life full greater power over your photography. And your second piece of equipment there. If you are shooting your images in low light, don't forget to take your tripod. And in third of all, little reminder again, a reflector. Reflector. Put that in your kit bag, take that with you and utilize that when you are looking at your exposure, exposure for your on your subject. But all the details will be posted in the project description. So you can go back there and just consider that again. So yes, don't forget to have fun while creating your vision. Looking forward to seeing those images. I'll see you shortly. My last lesson, final notes. Susan. 10. Lesson 08 Final Notes : Well, welcome back. I hope you had fun to a theater class assignment in there to capture some pretty awesome photos. I'm ready to come forward to seeing those images in the project gallery. I'm looking forward to seeing those images. I just want to thank you for taking this class and walking this short journey with me. Because I really enjoyed sure, sharing what I've also learned over the years with you. And it's really my sincere hope pet, everything that you've learned in this class. It's really going to benefit you in a way that it's going to help you to hone and develop your skills and to learn to become more creative, especially in the golden hour and also a hub. It's inspired you to continue to think outside of the box. Now, we've looked at some really awesome ideas that you can really create in golden hour. So I hope that's going to help you to explore that part, to think out of the box and not just go with the flow. So, uh, so to say, we know dots, I'm sure that you familiar with the saying that knowledge is power. But in the case of photography, imagination is more powerful than knowledge. For the simple fact that your imagination is only limited by your own mind. And as photographers, as we discussed, we should have a very vast imagination when it comes to doing photography. So take what you have learned in this class. Go out there and continue to expand your abilities by exploring different possibilities that come your way every day. Grab onto those possibilities and really make them work for you. And continue also to, to study the life that is available to every day, especially in Golden Harbor where your lightest change in so much, it's so vast. Continue to, to learn how to work with that light. Learned how to manipulate the light by 80 more lightweight. And in this way, this is going to really allow you to become more creative and create more complex ideas by learning how to manipulate the slide. That being said, I'd like to leave a loss lot with you that you can take away with. You. Don't always follow others in their ideas. Rather create your own individual style and others will follow you. Don't forget it. But thank you for taking this class with me. Thank you for walking this journey with me. I've really enjoyed it until we meet again in our next class. I hope you continue to have fun while creating magic in golden hour. See you next time.