Shooting portraits in a sea cave
Video: Shooting portraits in a sea caveSo the light was finally dark enough for me to, to go into the cave and do what I wanted to do all along, which was this light painting technique. And light painting is literally that. You're painting the subject matter with some light source. I use some simple flashlights that I bought at Costco. some people use strobes for light painting. you can certainly light paint with a strobe. it's a little bit harder because you don't, you can't see as well what you're doing.
- Road trip review
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A favorite travel destination is the seaside small town—a place with salt air, beaches, shingled houses, and seafood on every menu. And a great way to get there is by car, making stops along the way.
In this course, photographer Mikkel Aaland travels to Mendocino, a classic seaside small town in Northern California, making stops in Mendocino's Anderson Valley and redwood forests along the way. The course details the gear and shooting strategies involved in capturing the personality of a small town and, just as important, its natural setting and the people who live there. Throughout the course, Mikkel emphasizes the importance of putting your own creative stamp on your travel photos through the use of simple props, friends, or family members.
- Shooting along the way, from farm stands to redwoods
- Engaging with—and photographing—the locals
- Going beyond the postcard shot to personalize your photos
- Stopping at a bed and breakfast
- Shooting dunes, waves, and beaches
- Reviewing the photos from the road trip
Shooting portraits in a sea cave
So the light was finally dark enough for me to, to go into the cave and do what I wanted to do all along, which was this light painting technique. And light painting is literally that. You're painting the subject matter with some light source. I use some simple flashlights that I bought at Costco. some people use strobes for light painting. you can certainly light paint with a strobe. it's a little bit harder because you don't, you can't see as well what you're doing.
because the flash is, is so quick. But with the flashlight, you can actually you know, literally see what you're doing, and paint. I have three flashlights to work with. Which is plenty of light and you (SOUND) want to make sure you're shooting with a slow enough shutter speed so that you can paint it a little bit while the shutter is open. So I had to (SOUND) So I kept the ISL low so it was very easy to get a slow shutter speed and get the shot that I was looking for. So I had the models sitting down, facing me.
I was in the far end of the cave looking out and framed them so the edge of the cave (SOUND) and then outside to the ocean. Then, after that, I turned the models around and put them inside. And then I was shooting straight into the darkness. Now it's completely dark. So earlier I had to kind of be careful with my exposure because I, I had a lot more light on the outside of the cave that I had to compensate for. Now I'm shooting inside the cave, so I didn't worry about that.
and I, but I had, I could control the light a little bit more too, the flashlights (SOUND). (SOUND). I tried to do a shot of the boy, using a similar technique, him by himself, and that I'm not so happy with that (SOUND). You know, sometimes, sometimes you get it, sometimes you don't. That's just the way it is. I might be completely wrong, I might go into the computer and say, I got him and I didn't get her. But from what I saw on the camera I think I got a really kind of a special portrait that you can only get when you, when you use this light painting technique and it has to be dark enough obviously for you to do that.
So this is it, this is the end of my last day. It's been three days, just wonderful three days. To be honest with you, I'm a little tired. It's been a long day. Long three days. And I'm ready to I'm ready to go eat some dinner and go to bed.
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