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Video tags
Subtitles
Russian
00:00:01
[music]00:00:04
I was very surprised that there were a00:00:07
lot of misses in focus, that is, about a00:00:09
third of the photos that you00:00:12
sent were defective,00:00:14
and not a single photographer, smartly00:00:17
several at once, were defective in such00:00:20
defective photographs with a miss in00:00:22
focus, this causes a strong I’m surprised00:00:24
why because it is understood that the00:00:26
portrait photography course is already for those00:00:28
people who generally understand00:00:30
photography, who understand the fact that00:00:32
such a trick00:00:33
needs to be worked with and understand how to00:00:36
check your work before00:00:38
sending it anywhere, no matter where it is00:00:40
when uploading there on the Internet or when00:00:44
posting on Instagram or even there when00:00:48
sending homework, that00:00:50
is, checking to check this00:00:51
obligation is mandatory and such an00:00:55
action the photographer must check00:00:57
when selecting work for quality on the ledge00:01:00
meet the quality criteria00:01:02
photography is certainly very tolerant of00:01:05
portrait photography, it is very00:01:07
tolerant to such small defects and00:01:12
misses in focus is the basics, that is, there are00:01:15
photographs where this is generally00:01:17
part of the plot;00:01:18
misses in focus, but it must be00:01:22
justified; these are misses in00:01:24
focus with something else; there should be00:01:26
some kind of compensation00:01:27
if you take a photo and send it with a00:01:29
miss in terms of tricks, it’s normal, it’s00:01:32
nothing scary, it could be,00:01:34
but there must be something different in this00:01:36
photograph so that you can say wow, that’s00:01:39
okay, it’s blurry, but wow, cool, what kind of00:01:41
plot could this be if00:01:44
it’s not in the photos that you00:01:46
sent, like this there was no compensation,00:01:48
only regret for this problem because00:01:51
it means that the photographer does not see00:01:53
any technical defect, if he does not00:01:56
see a technical defect when sending00:01:58
homework, this means that he does not00:02:00
see a technical defect at all, this00:02:02
means that it is generally then it’s00:02:04
incomprehensible that up to 100 photos work,00:02:07
such a sin on and speech, don’t be00:02:16
too upset if someone there00:02:18
thought that00:02:21
I spoke very, very harshly, but you must look00:02:24
at the quality of your work, as we must00:02:26
definitely check them with our comrades00:02:28
because You can take defective00:02:31
pictures, there’s nothing wrong with that, but00:02:35
you have this filter before sending,00:02:38
checking should block bad ones,00:02:42
bad works are00:02:44
unsuccessful, so this is sent to us for revision,00:02:46
and so here’s one of the photos before,00:02:51
which let’s look directly in00:02:53
order before, which should00:02:56
mark a classic portrait00:03:01
lighting, if I understand from the number,00:03:02
classic portrait lighting, but00:03:05
let's look, yes, from the point of view of00:03:07
classical lighting, what do we see here?00:03:09
Let's look carefully, what we00:03:11
see here is that we have a drawing00:03:13
light source that comes from the window,00:03:16
by the way, you can clearly see the glare in the00:03:18
eyes there once shows us where00:03:20
the window is located and we see that the shadow from the00:03:23
nose lifts up a little above from the00:03:25
point of view of classical portrait00:03:27
lighting, this is an error, not fatal, not00:03:30
terrible from the point of view of photography, the points are00:03:32
not an error at all, but if we are talking about00:03:34
classic portrait lighting, then this is an00:03:37
error that means that the00:03:39
light source drawing is too low, that’s why00:03:42
you need to do you need to00:03:44
raise the residual light higher if you00:03:47
can’t move the window, and this happens,00:03:49
and the window can’t be moved, then you00:03:51
have to move the model, that is, the model00:03:53
should be lower for classic00:03:56
portrait lighting, it should00:03:57
for example, sit on an opal before or sit on a00:04:00
stool or sit on something that is00:04:02
under his feet that you can00:04:04
sit on before or, accordingly, this will lead to the00:04:06
fact that the light source on average will be00:04:08
higher and you will get a classic portrait00:04:10
for study because right now this00:04:12
error goes up a day from but it goes up00:04:14
we see it and the music 200:04:17
is visible vaccines so hop this is wrong00:04:22
in terms of the plot what can we say here00:04:25
yes the plot here is well stated as a move00:04:28
unfortunately it’s not at all readable in00:04:31
this to say that moving here is00:04:32
impossible we we see that women with a certain00:04:34
figurine are standing in a certain room,00:04:37
and at the same time the woman is00:04:40
very pretty and the girl is without pants for some reason, that’s00:04:46
what also causes very strange00:04:48
sensations from this photo, it’s not clear,00:04:50
that is, we don’t understand what’s happening00:04:53
for us, but for me, for the viewer, for example,00:04:55
as a side from aha, a certain consistency00:04:58
immediately raises a lot of questions: what00:05:00
who, why and why, that is, the move00:05:03
should be marked by certain boxes that00:05:05
from behind, well, unfortunately, they are practically00:05:06
invisible, so it is impossible to say that this move is00:05:08
impossible, because there is not enough00:05:11
information for a viewer who could00:05:14
say that this is a move, what is it from you00:05:16
exactly want, insist that this is00:05:18
a move, if it is important for you to00:05:20
somehow cover this particular topic, then we try to00:05:23
somehow show these boxes in a more obvious00:05:28
way, again, if you put the model on the00:05:31
floor, sit him down it will be lowered to the floor and our00:05:34
point of view will be able to see these00:05:37
boxes in larger numbers, that is, they00:05:40
will occupy a larger part of the frame than00:05:43
here, compared to just a little bit in00:05:45
the corner until they will already be larger visible,00:05:47
then it will be possible to show these00:05:48
things that in these boxes and which00:05:51
are typical for moving when everything is00:05:53
dumped there, books there, I don’t know,00:05:55
clothes there, something else, of course, this also00:05:59
may not give you the feeling of moving, but at00:06:01
least it will enhance the effect and it will00:06:03
look, well, more understandable, that is,00:06:07
what - she folds or takes out or00:06:09
wraps it in paper then it will be00:06:11
more logical for me this is the topic of00:06:13
moving because now it is not visible00:06:16
now we cannot know this and00:06:17
a lot of questions arise for this00:06:19
photo from the viewer00:06:20
to say a pretty girl is very00:06:22
beautiful for a long time why is she like that in00:06:24
this form and what it does, and here we have the00:06:30
next author’s topical00:06:32
topic: we want to be free,00:06:36
freedom is closed with bars, and the person00:06:38
there is eager to00:06:40
say that this is a classic portrait00:06:42
glow, well, in principle, yes, but the only thing is00:06:45
that there are problems with this photo and00:06:48
that we are not we see in general how good the00:06:50
light is here, today it’s very00:06:52
clearly visible because both the light from the side and the00:06:54
person’s side is turned towards us, so it’s00:06:57
difficult to talk about how00:06:59
good the lighting here is, it’s not good,00:07:02
right, wrong, it’s very hard00:07:04
to understand because the person is tver, but in00:07:06
general I know the light from the window, knowing00:07:08
they extrapolate this topic, we can say00:07:11
that most likely it will be, well, yes,00:07:13
this is closer to classic portrait00:07:15
lighting, although here it would also be good to00:07:18
lower the model lower or raise the00:07:21
light source higher so that we have00:07:23
lighting on average from somewhere above yes00:07:26
because classic portrait00:07:28
lighting is light from above, light from above00:07:31
means that your nose, for example, the00:07:33
lower part of it cannot be illuminated00:07:36
from the wing, but sort of like here it00:07:39
cannot be illuminated from below,00:07:40
this means that you have light coming from both00:07:43
above and below at the same time that is,00:07:45
such a large source of light that00:07:47
shines on you both from below and from above, which00:07:50
is the window, this means that it is not from the00:07:52
point of view of a classical portrait00:07:54
an error, yes, that is, this part of the nose00:07:56
should be dark, there should be a shadow under the nose,00:08:00
and it should fall Well,00:08:03
of course, if the light is from above, there is a date, there00:08:05
is a certain object, but again the environment,00:08:09
if it falls from above, then those are formed here,00:08:11
yes, but logically, you will absolutely see00:08:14
1000:08:15
it is not here, and again, there00:08:18
should be a shadow under the brow ridges; it is not here, this00:08:21
means that the light source is standing lower00:08:23
than necessary for the plot, here we00:08:26
get that it is, in principle, a00:08:27
person’s emotions are good, but the hands are not visible,00:08:30
unfortunately, this is bad, this is a minus for00:08:31
this, that is, you just00:08:32
need to move the camera a little to the00:08:34
left a00:08:36
little bit because the hood, for example, does not00:08:39
play any role, well that is, will00:08:41
the hood be in the frame or will it not be this hood00:08:44
in the frame and now look, I’ll take and00:08:46
take such an action in which the00:08:48
hood of the squadron is taken and I’ll take and crop00:08:54
this photo, which will only win00:08:56
because there will be fewer details,00:08:58
the photo will be more concentrated on00:09:02
the person, I cut off some kind of aroma00:09:05
that seemed to me the current one removed00:09:07
this hood,00:09:09
from the point of view of a person, nothing00:09:11
has changed fundamentally, but for me it’s not like the plot00:09:16
has not changed here, the essence has not changed, but it00:09:18
became better to see the person why because00:09:20
he began to occupy more relative to the00:09:23
frame area to the six percentage00:09:25
large began to take up space00:09:27
and I got rid of the extra detail of this from the00:09:30
point of view of this part which is00:09:31
on the left and right I need with a hood, so00:09:35
removing it leads to cole deterioration of00:09:38
the photograph so you could safely use00:09:40
the camera By moving to the left, his hands would be better00:09:43
visible and it would be better00:09:45
to show that he is really00:09:48
eager to be free there, but the next frame is a00:09:52
typical defect, such a technical00:09:54
defect that we see on a miss in focus, a00:09:57
photograph with a miss in focus on, they are00:09:59
sharp if you photograph even00:10:02
glass there in the mirror, it doesn’t matter that00:10:04
someone must be the main one in you, someone00:10:06
important in this photo00:10:08
must be someone important, and you concentrate on him, that is,00:10:11
when you00:10:12
are in focus, you are essentially talking to00:10:15
the viewer, look there, that is, the focus is a00:10:17
pointer to the stick, the photographer says00:10:19
look there or look here, what are you00:10:21
paying attention to this detail or00:10:24
this you should look at because the00:10:26
physiology of our vision says that00:10:29
we are looking at some clear, sharp,00:10:31
detailed objects00:10:34
first of all, there has been a lot of things there for a long time00:10:36
that we look at, we look at clear and00:10:39
detailed areas, we look at the00:10:40
contrasting area, the contrast can be00:10:43
frame or color, we look at the00:10:45
lines that lead somewhere, we look00:10:47
at the pointers that show something, and00:10:49
so on there like there is a whole big00:10:50
list of what we are looking at, by the way, in this00:10:53
list there is not a line of thirds that is not the golden00:10:55
ratio, these are all made-up fakes that do00:10:58
not in any way affect the quality of the photographs,00:11:00
they do not make and better, this is not there, but00:11:03
these things with quality and sharpness00:11:07
are this a way to show the viewer what to00:11:09
look at in this photograph, you do00:11:12
n’t show anything, you don’t say what you00:11:14
need to look at, everything is out of focus, that’s00:11:16
all the minor ones, it doesn’t matter what’s wrong with00:11:18
it, don’t look at what the photographer says,00:11:21
you just take the kind of photo that00:11:23
it’s not necessary to look, well, this is approximately how00:11:25
it is perceived by the viewer. Of00:11:29
course, a lot of questions arise for this picture, that00:11:31
is, a question arises for the00:11:34
purple hand that is pulled out from under the screen. A00:11:36
question arises in a dark00:11:38
field at night, there are a lot of questions and I would like00:11:42
some answers here in this00:11:44
the photograph is not contained in terms of00:11:48
lighting, if we talk about light, well,00:11:50
here it’s also a classic00:11:51
portrait light, in principle, yes,00:11:53
it’s just more classic than the previous00:11:55
frame, and because we have it coming from00:11:57
relatively above, well, even though it00:12:00
shows half of the face, it’s so00:12:01
classic this is of course00:12:03
not a creative approach, there is nothing so00:12:05
creative here, there are no photographs, well, from the00:12:08
point of view of light and we will move on and here we00:12:11
also mean00:12:15
classic portrait light and exactly the00:12:17
same mistake as all previous00:12:20
authors00:12:21
that happened here here we have light, the00:12:24
shadow from the nose is very clearly visible as it00:12:26
goes up, that is, here it00:12:29
goes up, here it is, here it is, the00:12:31
shadow from but with such a triangle, the same thing00:12:35
with the lower parts of the nostrils, yes,00:12:38
these are hidden and called also from below, they are00:12:40
illuminated, the00:12:41
same thing can be said there about the00:12:42
brow ridges which should be00:12:44
dark, they are illuminated from the bottom part,00:12:47
this means that here the light source is00:12:49
lower than necessary, that is, you also need to00:12:51
lower the model even lower, that is, you00:12:54
need to plant it even lower or put00:12:56
some kind of fence on the window that would be00:12:59
part blocked the light00:13:00
and let in only the light that comes from00:13:03
above from the point of view, in general00:13:07
his drawing here is quite good00:13:08
here we have some kind of00:13:10
backdrop there, so nice from behind there is something like00:13:12
that that emphasizes the second00:13:14
half of the face, everything is pretty nice00:13:16
everything is pretty good except here is the fact that the00:13:19
drawing light source, that is, the main one,00:13:21
is located quite low from the point of view00:13:24
of the plot, again the photograph turns out to be in a00:13:27
series, not00:13:28
what is happening here, we don’t understand,00:13:30
that is, for the viewer without the author’s hint, it00:13:32
would be unclear what is happening here, but00:13:34
besides that here there is a00:13:35
cute girl, what else should the author see here,00:13:38
well, she’s sitting in the apartment, everything is the00:13:42
best, but there are some books in the00:13:43
background, some books we can’t00:13:45
say, well, probably those people who have00:13:47
children in high school, I don’t understand that00:13:49
these are textbooks,00:13:50
well that of another country, well, I realized that these are00:13:53
textbooks next, that let’s still00:13:56
think about ideas, that is, for us,00:13:58
each next homework should include00:14:00
everything that was discussed for us in previous00:14:03
classes, so we started with the fact that00:14:05
photographs that will be interesting to00:14:08
the audience should do something contain what00:14:09
they should contain an emotion they should00:14:12
contain an idea some kind of thought or00:14:14
information, that is, they should give something to the00:14:16
person who will look at it00:14:18
in the photograph this was the first step step 2 we work with00:14:22
light light is an important component of portrait00:14:24
photography that is we need the light to00:14:25
be good, and we need it to be00:14:27
complex and interesting, attract00:14:30
attention,00:14:31
work out our plots, this is also very00:14:33
important because this is a sign of such a00:14:36
large family, difficulty00:14:38
in execution, and this is also an element that00:14:41
attracts attention, but this is essentially your00:14:43
megaphone that is in your hands then now00:14:45
you can shout loudly and that is, if00:14:47
you have a good megaphone you can00:14:49
shout very loudly and attract00:14:50
attention, the00:14:51
same good light means a00:14:54
responsible way to attract attention to yourself so00:14:55
that the audience wow how00:14:58
cool everything was done and they will tell us what they did00:15:00
the viewer will begin to look at what was00:15:02
taken there, your photographs will begin to sink in,00:15:04
and even further,00:15:07
then they will receive some from the moment that we were00:15:08
talking about, so it is important here00:15:10
that all this is where she is,00:15:13
where she is in previous works, it should also00:15:16
be like this in the following works. more00:15:18
yes, that is, we will have the next work00:15:19
waiting in it should be everything that we00:15:22
said previous ones, that is, we talked00:15:24
about the idea, the idea, the emotion, then we00:15:27
talked there about the gap about classically, and00:15:29
then we talked in the next lesson,00:15:31
we will talk about tonality and you00:15:33
should be tonality should there should be a color00:15:34
and there should be an idea, everything should be00:15:36
together, what can be done, well, give00:15:40
these textbooks in your hands, I don’t know, put00:15:43
the camera below, show that there are00:15:46
textbooks scattered under his feet in a notebook, which is00:15:48
boring, that she would like to play,00:15:50
maybe I don’t know which one is there don’t00:15:53
put the dolls as if she’s playing, although that doesn’t00:15:55
mean that she’s playing, the doll may be00:15:56
playing with cars, but again we’re talking00:15:58
about the fact that we’re talking to the viewer00:16:01
through visual images; visual00:16:04
images for girls are characteristic;00:16:06
girls play with dolls; not only such a00:16:08
characteristic stamp which is clear to all00:16:11
viewers, without exception, and therefore if00:16:14
you put, for example, textbooks, textbooks, textbooks in front of her that are not familiar to her,00:16:16
there are some notebooks,00:16:19
and now she seems to have to00:16:20
learn to actually look out from under the notebook like a00:16:22
doll, we understand that she00:16:24
is playing with what comes out and there they00:16:26
quietly gave me, I don’t know what’s good there,00:16:28
it’s not good, it’s not a doll, let’s assume there00:16:31
will be a tablet there and there will be00:16:33
some kind of toy on the tablet, or there’s the Internet,00:16:35
for example, some kind of website is open, the children already00:16:38
understand that they have expensive games00:16:42
and here she is instead of studying00:16:44
actually played or ate candy on a00:16:46
candy wrapper there, not then it will be an00:16:50
interesting shot which, but many people00:16:53
will understand from those people who have00:16:55
children, they will say they should go home, too, don’t they00:16:57
study there, mine too, so instead00:16:59
of studying there, you were driving around00:17:01
and so on there then, that is,00:17:03
all these moments will be clear to people, they00:17:05
will be able to empathize, they will be able to00:17:07
imagine themselves from this photograph, they00:17:09
will be able to get an emotion, are there any00:17:12
thoughts about what and how to do to make the00:17:13
child interested in studying00:17:17
or photographs from this will win now00:17:20
she’s so empty this photo is00:17:22
interesting for dads and moms grandparents00:17:25
who maybe classmates will appreciate00:17:29
the photos all this is a very narrow circle of00:17:31
people these classmates will say well00:17:36
the girl is resting here it’s more clear00:17:41
and by the way more classical lighting00:17:42
more correct classical lighting00:17:44
here on the second photographs, although it00:17:46
is expected that there should be some kind of00:17:49
creative glow, what does creative00:17:50
and creative mean is when you can00:17:52
experiment, do it somehow in a way00:17:54
you usually don’t do, or in a way that is00:17:56
considered wrong, or in a way you’ve never00:17:59
tried before, but it’s just there to be00:18:01
creative, that is, well somehow I do00:18:02
n’t know how to make a light that would be but00:18:05
not like anything else there I don’t know,00:18:07
take a Christmas tree garland, wrap it around00:18:09
a person and shoot this garland00:18:11
as a light source, or take a00:18:13
teapot as a light source that00:18:16
glows blue and here it is boils00:18:19
while it illuminates the room with this blue00:18:21
color and it turns out to be quite an00:18:23
interesting disco00:18:25
or, for example,00:18:27
they put a large bottle on the light source and let them shoot00:18:29
through it and because there will be such00:18:31
spots of light it will turn out to be quite00:18:33
cool lighting del there through the00:18:35
blinds they shoot to which they give us some kind00:18:38
of a lattice instead of a light, yes, it00:18:39
turns out cool, this is a creative00:18:41
light, that is, in theory, this is the topic,00:18:43
well, it would be interesting, you can00:18:45
try it if you redo00:18:47
your homework, it will be good,00:18:49
in principle, yes, you can once again have00:18:51
time, you can try to make new00:18:53
options from the point of view of light, here everything is00:18:56
classic, everything is correct, the shadows from the nose00:18:58
go where they need to be, there is00:19:01
backlighting, there is filling, and00:19:04
by the way, there is even a plot here because the00:19:05
theme appears that yes, indeed,00:19:07
a child is reading a book there, but00:19:09
some kind of thought is not very deep, but it is here00:19:12
appears and even we can imagine this00:19:14
somehow, this topic is like how the audience00:19:18
who raises it will00:19:20
perceive this topic, if you also show00:19:24
what a child experiences when reading this00:19:27
book, it will be even better, well, for example,00:19:29
he’s bored there, he’s not bored in the clearing, he’s not00:19:31
interested in reading a duck like, well what does it00:19:34
give that is not there or, on the contrary, very interesting,00:19:35
doesn’t even get distracted by00:19:37
taking pictures of herself there, and it’s so cool there, well,00:19:39
she’s looking at this book and the types can even00:19:41
brush me off or, for example,00:19:44
on there, like00:19:45
on something else there, is it worth it, how00:19:47
can it be be lines, this is us, something else, yes,00:19:49
that is, these things can be00:19:51
played, it’s not difficult, it’s easy to do,00:19:53
that is, here we actually add this00:19:57
element and make the agraphia more interesting, it00:19:59
will become of a00:20:00
deeper meaning, that is, we see00:20:03
not just a person with a book yes a person with a00:20:04
book that something something something something00:20:09
some emotions and we can00:20:12
accordingly be imbued with these00:20:13
emotions for worrying this person before00:20:15
or somehow think about this thought so00:20:22
try to experiment and00:20:25
further this again we have a photograph with a00:20:29
child and classic portrait00:20:30
lighting and here we see that, in00:20:33
principle, it’s almost good, it’s practically00:20:36
succeeded, the shadow from the nose00:20:39
lifts up a little bit, this droplet is a trifle, in00:20:41
fact it’s nonsense, hard light is00:20:43
difficult to work with, but in principle it’s quite00:20:45
nice and lays in In such an interior, it00:20:48
basically looks organic, such00:20:51
light00:20:52
and from the point of view of lighting everything is fine, from the00:20:55
point of view of photography there are many questions,00:20:59
again, because we see a child00:21:00
who, well, who reacts to someone00:21:03
behind the scenes and we don’t understand to whom and what,00:21:06
but we must say that at the same time it was possible to00:21:08
capture some kind of very live00:21:10
emotion and, in principle, we can00:21:13
figure out what she saw there and00:21:16
what she imagined everything there or whatever00:21:18
who approached her and how she did not react,00:21:21
it turns out this is quite a00:21:22
complicated thing, of course, but yes it turns out00:21:25
well from the point of view of the idea, it’s not bad,00:21:28
just this photo looks like I00:21:30
would lower the camera a little bit lower00:21:32
until the hands were completely visible,00:21:34
then the reaction of the person would be more visible, he00:21:36
turned around and00:21:38
saw something, the child was even scared,00:21:41
yes that’s very good it turns out, well, this00:21:43
kind of frame is not even a frame from some00:21:46
movie, but it’s so good, here’s an option for00:21:50
creative lighting, in principle,00:21:51
why not a very good option00:21:53
in backlight and it turns out to be such a00:21:56
well-designed contour, it’s funny, it’s00:22:00
even clear what the child is doing, he’s00:22:03
showing someone what it is nose to00:22:07
nose but we don’t understand to whom he is showing00:22:10
and why he is showing this topic, of course,00:22:12
the leg eludes us if we00:22:13
tried to show someone to whom he is00:22:15
showing or make some kind of gesture00:22:18
that would be more understandable, I think00:22:20
it would be better, yes because now, well,00:22:25
again, it’s not entirely clear to whom and00:22:28
what and why with the light, the picture is good,00:22:32
I really like the light, the contrast is00:22:35
also very cool, everything00:22:36
turned out very well, a very cool shot,00:22:38
how to become, and the previous good shot is like00:22:40
this with good contrast, here everything00:22:42
is fine, it suffers a little here is00:22:45
the content you need to think about who needs what and00:22:46
why and why why am I00:22:50
shaking you so much all the time on the topic yes because he00:22:51
will point out the accounting stuck to these why it00:22:53
can’t be done like this00:22:54
you can do it as you like00:22:57
no one is forcing you to do as I say the00:23:00
problem is what you will have to00:23:03
do with the viewer who, well,00:23:06
lives and thinks in some such average patterns, whether00:23:09
we want it or not, the majority of00:23:13
viewers00:23:14
distinguish a fairly small00:23:18
number of some things that are shown to them by00:23:22
subtle connoisseurs, they place distinguishes00:23:25
more hints of not some subtle00:23:30
interesting things, yes Naturally, an00:23:32
educated person understands more, but the00:23:34
main base does not understand very00:23:36
much and the majority think in00:23:38
certain patterns, look and see00:23:40
certain patterns, and if you want to00:23:43
convey something to the majority of people,00:23:45
then you must, of course,00:23:47
learn how to00:23:49
use simple simple ones like this00:23:51
here are things, well,00:23:52
that is, mom washed the frame, a00:23:55
very simple phrase for which in the textbook00:23:58
when it is written down due to00:24:01
its simplicity because it00:24:04
is clear and the action is clear what00:24:05
happens before they are very easy to write and there are00:24:07
not very many syllables everything is clear to everyone00:24:12
no questions arise with this00:24:14
text, these are the first steps of which, well, in00:24:17
theory, you should master in order to write00:24:19
stories, and then you write some kind of00:24:21
work,00:24:22
well, the series is not for there, some here,00:24:27
how I spent the summer, which is stupid, of course,00:24:30
but nevertheless it develops your00:24:33
ability to speak, convey your thought,00:24:35
then some kind of thought of your own appears,00:24:37
you don’t already know how to do it, that is, you00:24:39
already have the tools to00:24:40
express it, that is, you already have a00:24:44
set of00:24:45
some specific actions, says like this, like this,00:24:47
like this, I’ll show you that I00:24:49
want, well, something like this, here is Maxim’s00:24:56
first photo, which classical00:24:59
lighting should signify them00:25:01
written that boredom I can’t say that00:25:04
it’s just some kind of absolute boredom00:25:06
although, of course, the person is not very happy,00:25:08
not very interesting, obviously yes, but just00:25:11
how much it is let's look00:25:13
like it probably looks like,00:25:16
let's look very good at this. By the way,00:25:18
all sorts of different search engines00:25:21
that allow you to look at pictures using keywords,00:25:25
that is, if we take the00:25:30
word boredom in volume, what we will see, let's00:25:33
see what boredom looks like in00:25:35
people's understanding. those very primitive templates00:25:38
that most people have, that is, here00:25:42
it is at such a simple level,00:25:44
and here’s what it looks like, as you can see, that in00:25:46
most cases, boredom looks like00:25:49
this, people understand it like this, and00:25:52
they imagine it like this, so if you00:25:55
want to make boredom, then you should do00:25:57
something like this, it seems to me in this00:25:59
direction, yes, that’s what boredom is, and a00:26:01
person is clearly bored indeed, yes, from the00:26:04
point of view of most people, of00:26:07
course it can be different, and of00:26:09
course, even these photographs all00:26:11
look a little different, but if they have00:26:14
something in common, what they have in common is that00:26:16
in the understanding of people, boredom lies in00:26:20
some kind of behavior like this, then00:26:23
such a person with his hand propped up on his face is deformed, he does00:26:28
n’t even have the strength to hold it straight up and this00:26:33
is the first most understandable, most00:26:37
logical way to show how many of00:26:39
you are not here to say that very soon it’s00:26:42
more likely such a warmth, well, the person is distracted,00:26:44
rather, there’s a feeling that00:26:47
they said, like, sit down for a second, not a00:26:49
person like that, well, I’m thinking about something of my own, yes,00:26:51
but he’s not bored yet,00:26:53
but his attention may no longer be so00:26:55
focused on this I00:26:57
even draw your attention from the point00:27:00
of view of light, here the principle is good,00:27:02
although the lighting tends to be without shadow,00:27:04
this is a fairly common mistake, I would00:27:07
call it,00:27:08
although in fact, of course, it’s not a00:27:10
mistake, but this is a fairly typical00:27:17
situation when photographers come to the00:27:20
studio first of all, and not only 100:27:22
usually still like this and then they start00:27:25
using00:27:26
killing it and lighting without it I am00:27:29
a priest when there are practically no shadows00:27:31
such photographs turn out to be quite00:27:33
boring it turns out to be quite00:27:35
uninteresting you know, this is how doshirak is00:27:38
from the point of view of that main dish, that00:27:42
is, yes it is nutritious yes it you can eat it00:27:44
inexpensively cheaply cheerfully but not tasty00:27:48
uninteresting doesn’t attract anyone you won’t00:27:51
lure anyone into the restaurant if you00:27:53
brew doshirak there it won’t surprise anyone there won’t00:27:57
be queues there won’t be anyone interested00:28:00
so I strongly recommend that you00:28:02
refuse lighting without it at least00:28:05
for the duration of training sometimes there are people00:28:08
say, well, the customers really want00:28:10
shadowless lighting and generally do00:28:12
n’t understand the shadow that I’m00:28:14
trying to promote there, they say the shadows00:28:16
are bad, make it close to me and the00:28:17
lighting, but here you need to understand that00:28:20
customers always come to you such00:28:22
that you yourself attract them that is,00:28:25
you do some kind of work, put these works00:28:28
on a website on the Internet, somehow00:28:30
show them, demonstrate these works, and00:28:32
people who see these works want00:28:35
the same thing, that is, they want exactly the00:28:37
same lighting, so that there are no shadows, they00:28:39
want it exactly the same as you had00:28:41
before, that is, a video of your product, they want00:28:43
to get from you what you offer, so it00:28:47
turns out to be a vicious circle, people come to you00:28:49
who want to be lighting it and00:28:52
they force you to do it without it00:28:54
with lighting, you do it without it with candles,00:28:56
people come to you again demanding00:28:58
photographs on the wall and00:29:00
yes, many photographers don’t understand how to00:29:02
get out of this, in fact it’s00:29:04
quite easy to get out of this,00:29:05
you need to change your portfolio, that00:29:08
is, you need to invite some00:29:10
models who would not apply for00:29:13
photographs, would not work for money, or would00:29:16
agree to any result and00:29:18
take photos that you think are00:29:21
right with what shadows that00:29:22
seem interesting to you, make contrasting00:29:24
shadows that will do what you need and00:29:26
put these photos on the site and then00:29:29
you will have clients who will00:29:32
look at the wall, everyone makes such a00:29:35
flat picture, such flat light without00:29:38
any shadows, but this does it with00:29:40
shadows, look, you see this term is00:29:42
quite interesting, this turns out to be00:29:44
deeper, more00:29:46
dramatic lighting, so this is the photographer we00:29:48
’ll go to, you’ll attract a client00:29:51
who will be calm about00:29:53
shadows, and here for now, of course this is all00:29:56
quite sad from the point of view of light,00:29:57
very primitive lighting, nothing00:30:00
here there are moments that would draw00:30:02
your attention, look at all, there are some flaws in some00:30:03
processing from some gray00:30:05
outlines incomprehensible around and the00:30:09
lens that you are using I don’t00:30:11
know what kind of lens is quite00:30:14
wide-angle, it seems to me that it’s around00:30:15
50 millimeters, what does it feel like it00:30:19
makes you have huge legs, but it’s not a fact00:30:22
that it’s good for a female portrait, but that00:30:24
is, the arms are very fragile, the head is00:30:28
normal, the shoulders are good, the legs with feet are the kind00:30:32
that are closer to the camera, but they are still00:30:34
unexpectedly large, but usually00:30:40
a portrait of a woman like this, not very much for00:30:41
a woman, they really like large feet,00:30:45
feet to toes, they are considered, but it’s not like the00:30:48
best option, so I would take some kind of00:30:51
longer focal length lens,00:30:53
or if you don’t have another lens, I00:30:55
would just try to raise the camera a little higher00:30:57
so that the legs were further away they were00:31:00
smaller the head was a little larger the eyes00:31:02
were also more looking for some angle that was00:31:04
more acceptable00:31:06
or from some other pose so that it would00:31:09
n’t catch the eye so much but here we are supposed to00:31:12
have creative lighting00:31:14
but it turns out again the same00:31:16
shadowless lighting practically without00:31:19
it and there is protection for the wall,00:31:20
but they are clearly in their rudimentary00:31:23
form, just barely, somewhere behind the nose there is00:31:25
hidden lighting of the fundamental00:31:28
difference between this photograph of this00:31:30
photograph from the point of view of light, I don’t00:31:31
see, so to speak, what do you know in00:31:33
one photo, in another,00:31:35
everything is completely different, no, everything is the00:31:37
same here and here, about the same, so of course there is a00:31:42
difference between them,00:31:43
but it’s so insignificant, and I honestly00:31:45
think it’s not enough to say that this00:31:47
kind of creative lighting is impossible,00:31:49
although we can see there was an attempt make00:31:51
lighting with some kind of00:31:57
neon lamps, I somehow illuminate it, and you00:32:00
failed00:32:02
because these neon lamps didn’t00:32:05
give you any interesting00:32:07
light, well, the photo turned out bright,00:32:10
and girls will love such photos,00:32:12
but from the point of view of photography, it’s how00:32:17
to attract attention, that is, for those00:32:19
people who are experienced and have a lot of experience,00:32:22
yes, this is not the most interesting picture00:32:24
precisely due to such a primitive and00:32:26
boring lighting, here00:32:30
we could somehow turn around with it, so00:32:32
we have00:32:37
classic portrait lighting to refine00:32:40
from the window, I would try to take the00:32:46
same picture, try to make it a little00:32:48
more contrasting, that is, try to00:32:49
put some dark object on the side of the shadow,00:32:52
for example, hang a dark sheet there,00:32:55
delta if there is one, yes, or00:32:57
hang some kind of dark fur coat on a hanger00:32:59
do this, well, behind the frame, hang us on the left edge,00:33:02
this will make00:33:05
slightly darker shadows from the left edge and make00:33:07
photographs of them, it seems to me more interesting,00:33:09
deeper now, this is also, again,00:33:11
the light, everything is basically correct, everything00:33:13
fits fine, everything is fine,00:33:15
but it doesn’t turn out that way for you very00:33:18
deep shadows, this is not so dramatic00:33:21
in relation to the plots that you00:33:23
have here, which is loaded and overloaded, it00:33:28
seems to me that more00:33:30
dramatic lighting is more appropriate here, but the00:33:33
owner is a master, otherwise it’s00:33:36
basically good here and even some kind of plot,00:33:37
even if we understand what this is about and in our00:33:43
theory this should be a classic00:33:46
classic portrait on the notice, but we00:33:50
see the same mistake that00:33:51
many people have already made before you, yes yes00:33:54
Olga, what is being discussed, namely the light coming from00:33:59
below, here is the shadow from the nose, here it is, where it goes,00:34:01
here it goes up, right here00:34:03
goes straight about and that's where the eyes00:34:05
go up and it should be his like00:34:08
this in a classic portrait lighting the00:34:10
shadow from the nose should go like this like00:34:12
this you have a divergence of 4500:34:14
degrees, that is, your light source00:34:16
is from below, this is very clearly visible,00:34:18
for example, by look at the hand, the hand of which00:34:21
is illuminated by the same light, you can see that00:34:23
the fingers are equipped from below, here the finger is consecrated from00:34:26
below, it should be illuminated from above, that is, there should be a shadow00:34:29
here, there should00:34:31
be a light fragment of the finger, there00:34:34
should be a shadow, the brow ridges should00:34:36
be a shadow, there should be a shadow here, before00:34:40
accordingly, under the chin there00:34:42
should also be a shadow on the chin there should00:34:44
be accordingly on the cheese here00:34:46
erroneous lighting is incorrect from the point00:34:48
of view of a classic portrait00:34:50
the light is not set correctly we are00:34:52
training in a classical portrait00:34:54
you need to be able to understand how it works00:34:56
understood how it worked out understanding how it00:34:59
works you can make any light but00:35:02
for this you need to have this00:35:04
understanding of how it works and higher lower00:35:07
more less contrast not no contrast00:35:10
these are all the points you should definitely00:35:11
try to hone them you00:35:14
definitely need to train if you do00:35:16
n’t do this then it will be difficult for you00:35:17
to move on it’s not familiar00:35:19
how in calligraphy, yes,00:35:21
in order to be able to write beautifully, you need a00:35:24
new stick, some squiggles00:35:28
to draw, you don’t draw letters yet, you00:35:30
only draw squiggles,00:35:31
but this needs to be done until you00:35:33
work it out until you get the hang of it, you00:35:35
won’t be able to move further, well,00:35:39
this is probably in in all areas also, yes, that is,00:35:41
there are some basic things that you need to00:35:43
study first, get your hands on them,00:35:45
do them in some kind of machine, and00:35:48
then it will be possible to do some00:35:50
more complex things from the point of view of the plot,00:35:55
but it’s not entirely clear what00:35:57
happens, yes, the technique is used00:35:59
quite often, increasing the distortion of the00:36:02
treatment of the eyes to the distortion of some00:36:04
object, this is a compositional technique, it is00:36:07
used quite often by many00:36:09
authors, but let’s say here I want to00:36:14
understand why, that is, if you give00:36:16
some kind of reference, like in the next00:36:19
frame we have some a room that00:36:21
gives us an understanding that a person00:36:23
lives there somewhere, something lives here, if you00:36:30
showed a library in the background or some kind of workshop, but it would be clear to people, yes,00:36:33
this is a left-handed workshop, yes, that is, here he is00:36:34
there now he’s pinning a flea, or there’s a00:36:37
library in the back, it’s some kind of scientist00:36:39
botanist downstairs and there he’s studying a guitar00:36:43
on the wall or to the cops about the varnish studying the legs of something00:36:45
else that would be more information00:36:49
information that would be a more interesting00:36:51
shot that was deeper was00:36:53
if it were more catchy it would be for a00:36:55
larger circle of people it would be more00:36:57
interesting more story more people00:37:00
who would be impressed by this story00:37:02
less story less details00:37:04
harder to hook people yes it is possible yes there are00:37:07
photographs where there is nothing a00:37:09
person and everything00:37:10
and there is no fund there is nothing this also00:37:13
happens but00:37:15
here we need to understand that work is not00:37:18
always and not everywhere, not exactly well, that is,00:37:21
if someone doesn’t know, but the00:37:23
photographer is photographing a00:37:24
celebrity, he came to this photographer doesn’t00:37:28
know Sergei Shrunov, for example, but00:37:32
Sergei Shrunov put him on a gray background,00:37:34
nothing he doesn’t make his face just00:37:37
stands and looks like that at00:37:39
the camera callers with his chin raised against a flat00:37:42
background like this we have a background00:37:46
we know about this singer there for now an00:37:48
attempt there as a political figure00:37:51
perhaps in the future well in short my00:37:54
human projector we know a lot about us there is a00:37:55
background and therefore, even if he00:37:58
stands with his arms crossed and just looks into the camera,00:38:00
we will already have a certain00:38:02
idea about him, what he thinks, what he00:38:05
wants to tell us there because we00:38:07
know and therefore famous people, of course, it’s00:38:09
easier to photograph them; photographing00:38:12
famous people is about the same as00:38:14
using doping in sports00:38:17
so it's actually quite a00:38:19
technique for a photographer in a not very good but00:38:24
nevertheless it works yes because00:38:27
everyone understands if there is a stranger00:38:30
you need to00:38:32
dodge something you need to already00:38:34
do something like that why because the viewer00:38:35
will not have a background regarding the00:38:37
person who he will read from the00:38:39
photographs, but he will watch everything from it00:38:41
and what to watch from it is what00:38:43
can measure emotions and some can and can00:38:45
be seen what kind of emotions a person is experiencing,00:38:47
you can convey them well, then it00:38:51
must be some kind interesting emotions00:38:53
for the viewer, you can’t let’s play00:38:55
through other objects, for example, through the00:38:58
surroundings and surroundings00:39:00
through props, try to tell a00:39:03
story, well, that is, here are the props, as I00:39:05
already said, this is a very important00:39:06
element, that is, if a person has00:39:08
a machine gun in his hands, we understand that this is about war00:39:10
and she herself has a shovel in her hands, we00:39:12
understand that it’s more about a gardener,00:39:14
well, something like this, you have certain00:39:17
objects with which you can00:39:19
direct the viewer in the right direction,00:39:21
force him to read some kind of story,00:39:24
here, in principle, everything is correct, here00:39:26
we have a person who is somewhere00:39:29
there in a room, yes, he is00:39:31
somehow thinking about something, it’s difficult for us00:39:33
to understand whether he lives there alone or not alone,00:39:36
where he is is also difficult to understand, and00:39:38
by the way, the photo is defective because00:39:40
from the masses it is blurry and fuzzy00:39:43
photographs are also a marriage as a question about the fact00:39:45
that for some reason a lot of marriage has00:39:47
come, I don’t know why, but here we00:39:50
have at least an understanding of where it is00:39:52
located, this is some kind of country house, well,00:39:54
the feeling is like that, and of course I would like00:39:57
this story reveal it, but00:39:59
try to convey it somehow, for example,00:40:01
that he’s there with his family, for example, you can00:40:03
put three glasses there on the table,00:40:05
don’t lay out the plates behind it, it’s as00:40:06
if everyone was eating and drinking, or if he’s alone,00:40:09
then you can try to show that he’s00:40:10
really just alone one00:40:12
glass or there in the background I don’t know00:40:14
what kind of objects there are from his00:40:17
instruments music a guitar there in the00:40:19
background he is playing the guitar yes or there is00:40:21
a gun hanging there a hunter doesn’t matter what that is,00:40:25
try to tell some story00:40:26
in order to tell the story you00:40:28
need first and and invent that is, it doesn’t00:40:30
happen, this probably happens very00:40:31
rarely when a person came to a place at00:40:34
a cool place you have a place now I00:40:36
came up with these from my head quickly00:40:37
and let you do it and hop and do it, yes00:40:40
there are people who can00:40:42
make up a story on the fly and try how do you00:40:44
convey it to the viewer, but most people do00:40:47
n’t have this gift, so I00:40:49
recommend that you write out this story00:40:51
in advance, sit down and write a mini-script of what a00:40:54
person does, how he feels about it,00:40:56
what kind of state he has in this00:41:00
person, and then through objects,00:41:02
through the environment, through the entourage and00:41:04
also show it through lightDescription:
Пройти онлайн-курс «Портретная фотография» – https://www.profileschool.ru/category/photography/course_portrait_photography Информация о преподавателе и его онлайн курсах: https://www.profileschool.ru/teacher/anton-martynov Содержание: 00:00 Общее замечание: промах по фокусу 02:48 Первая работа 06:26 Вторая работа 09:52 Третья работа 12:13 Четвертая работа 17:37 Пятая работа 20:18 Шестая работа 21:47 Седьмая работа 24:50 Восьмая работа 31:09 Девятая работа 32:31 Десятая работа 33:38 Одиннадцатая работа 36:16 Двенадцатая работа Так же вы можете следить за новостями школы в соцсетях: Группа Вконтакте: https://vk.com/profileschool Facebook: https://www.facebook.com/unsupportedbrowser Telegram канал Liveclasses: фотография – https://liveclasses.ru/tg/photo/
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