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  • Speaker 1: Stop chasing me, I have a Canon in my hands, it's a Canon I tell you, it's

  • a cannon. Jared Polin, froknowsphoto.com, here with another super secret project video.

  • This time I want to talk about composition. I will be using a Rebel T3i, I have on here

  • a 16 to 35/2. 8 but to keep it more realistic to what most people starting out with, I am

  • only going to shoot it in the range of 18 to 35, because most kit lenses are 18 to 55s

  • and I am not going to go below F 3. 5, just to keep it more realistic. But when I say

  • composition I have here Kermit de Frog as my subject and he is an inanimate object.

  • So we are going to play around here, I don't even know what I am going to do, I haven't

  • even tried to compose an image here to see what would work best with just basically a

  • kit lens.

  • If Canon actually sent me kit lens this time, I would have used it, but they sent me a better

  • piece of glass, because I asked for it. But it still has to go back, I still have to send

  • it back soon. What I plan on doing here, is just going through different angles, taking

  • pictures and showing you what they look like to see how I am changing you the composition,

  • changing up my angle, seeing what works best. Because the best way to learn your composition

  • is to actually go out and see it and do it. So that's why Kermit de Frog is here for my

  • subject and just a little cut out, my mom made this in 1983 and it has been my doorstop

  • ever since.

  • She used to do a lot of ceramics and this is one thing she brought home in 1983 when

  • I was roughly 2 years old. So yeah, let's get to the composition video end of this or

  • the composition part of this and I will right back to use this Canon T3i, hopefully you

  • guys pick up some information from this, we will be right back. All right, so we are back

  • now, T3i in hand and this is about seeing and feeling the image. Sure there is not much

  • going on here. I just Kermit de Frog sitting over there and I have to find the image. If

  • you can practice this yourself and find the image with inanimate objects and things like

  • that you are going to train yourself to get much better when you are in an actual shooting

  • situation, all this practice of trying to find the right composition is going to lead

  • you on the right path to getting that composition when you're out there shooting what really,

  • really matters.

  • This is a great test. I have to sit here and work through the different, you know it's

  • not the biggest range of lenses, it doesn't go 18 to 55 like those kit lens, it's going

  • to go 16 to 35, but like I said, I am only going to shoot from 18 to 35 and at the lowest

  • aperture of 3. 5 and that's going to have to change as I hit 35 because most cameras,

  • when you don't have the 2. 8 lenses, are going to do that. But what I am going to do here

  • is try to find the image. I am just going to move around and search for it and we are

  • going to pop the images up on screen as I shoot them to see what we are getting. And

  • then see if it's good composition or bad composition, so you know really sometimes people start

  • out and they shoot like this. So let's see, that's a 35, full standing up, shooting the

  • child or whoever down at the low angle and it looks like this. What could you do to make

  • that better?

  • First things first, if this is my subject, I'm getting down on my subject's angle because

  • this is how you want photograph a child or subject on this low angle, boom, let's see

  • what this looks like, there you go. Now right now, I'm in aperture priority we are not going

  • to worry too much about exposures right now, because this is all about composition. So

  • there is, oh I thought I had a bug on me, I don't like bugs, there is the first image,

  • not every interesting, there's a second image, getting even better and like that angle, do

  • you see what I did it. I threw them off to the right-hand side, now let's put them right

  • in the middle, so using this Canon, I hit this button over here, the top right corner,

  • it lights up the different focusing points. And then I select the middle one and hit okay,

  • so here he is right in the middle.

  • So now you can see the picture basically in the middle, look at the difference between

  • the first one, he is off to the right hand side. And the second one, he is right in the

  • middle, which composition is stronger, that's up to you. But I like him throwing off to

  • the side, because that to me is a better image. Now what would a vertical look like, do we

  • want them right in the middle, like this, do we want to focus and do this? You know,

  • you are just getting a different feel for what's going on. Could we come here and shoot

  • an even wider shot or do I want come over to here and be like all right, Kermit, let's

  • see what we have got, let's work with you.

  • Oh right there, Kermie, so here we go again. I am picking my focusing point, by hitting

  • that center button and moving all the way over to the leftmost focusing point, I think

  • I am still learning how to use this bad boy. And there we go, focus right on his eye from

  • this corner, all right, there we go. I want to get more of his body in there, so I am

  • going to go wider. And here we go, now, I threw them off to the left hand side, but

  • I got his whole body in there and that's looking much better than the shot before. The shot

  • before is good, but look at the tree right in the background, it's like he has got a

  • tree coming out of his head. Let me focus, lock in, you see, now you see this tree coming

  • out of his head. That's not good, how can we -- how can we fix the tree coming out of

  • the top of his head.

  • Well, we could move slightly this way and be like, all right, I don't want the tree

  • coming out of your head. So let's go vertical and now the tree is off to the side focus,

  • focus, boom. Now we see the difference in where the tree is much better than the tree

  • coming out of the top of his head. So really what this is coming down to is just seeing

  • what's going on in the frame, what's going on in the background, what's going on in your,

  • just in your sidelines. It's all about seeing, it's not just about where your subject is

  • what your subject is doing. He is not moving, I have to move myself, many times, when I

  • am shooting models, I don't ask them to move, if they are in a bad place, I will move myself

  • and the last resort is ask them to move, because I want to -- you know I want to see the image.

  • I am always looking, I am always looking through the camera, going all right, let's see, what

  • could be the right angle, because you want to look through the camera, because that's

  • what your image is going to be and not so much, always just looking not through the

  • camera, you want to use the camera, to see what your frame is going to be, because then

  • you are going to see what's going on. So those are just some simple examples of what I am

  • thinking about when I am looking through the camera and shooting the pictures, was there

  • a distraction in the background, would he look better at a high angle or a lower angle,

  • would he be better right in the middle, could he be better to the left or the right, and

  • these are just basic composition things that are going through my mind, every second when

  • I am a shooting a picture.

  • When I am looking through the viewfinder, am I looking right at the subject all the

  • time, no, I am focusing on the subject, but I am checking the outer border, is there something

  • protruding through the outer border that doesn't need to be there, is there a distraction.

  • I don't know, but that's what I am looking for and what I am thinking about. So that's

  • about it for the basic thing on composition right thing. I hope these images help you

  • out, I hope it give you a little bit of inside into what I am thinking about, so you can

  • try to think about that as well. So that is another super secret project video, this time

  • composition with Mr. Kermit de Frog, Kermit, thank you very much. Jared Polin, froknowsphoto.com.

  • See ya.

Speaker 1: Stop chasing me, I have a Canon in my hands, it's a Canon I tell you, it's

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A2 初級

写真チュートリアル - 構図の基礎 (Photography Tutorial - Basics of Composition)

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    羅紹桀 に公開 2021 年 01 月 14 日
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