100:00:00,000 --> 00:00:03,460there

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there's an artistic point that I want to
talk about in this video and that's that

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there is no such thing as the correct
exposure

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well let me rephrase that if our way
there is this thing is that incorrect

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exposure and that's basically when your
exposure is not where you want it to be

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it's not your desired exposure and this
is why from this entire course I've been

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talking mostly at least one talk about
exposure I tried always say that's not

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where they're basically the desired
exposure is if I have said correct

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exposure than think of that basically
meaning as that's not my desired

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exposure the reason that I want to bring
this up is because I seem to be exposed

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any number of ways and it just goes back
to again the artistry what you're going

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for a specific scene and I'm gonna show
you exactly what I mean in this specific

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scene because in this scene we have
several different ways of shooting and

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exposing the scene for different
artistic effects let's go and talk about

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the scene real quick so what we have
here is we have our lovely model Whitney

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she's dressed in a yellow dress and we
have yellow balloons and any of you can

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guess why that is if you guys said it's
because a complimentary hors it because

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it's a company color scheme then you are
absolutely right so what I wanted is

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we're going for this scene I knew that
we'd be shooting over a blue backdrop

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which is this lovely kind of well
background view of laguna beach looks

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absolutely incredible and because it's
all blue in the background what I wanted

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it is a nice contrast you look with our
clothing and so with the clothing with

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the balloon we went with the yellow
because of the company color to blue so

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we're going to get this beautiful pop
off the background kinda look now with

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the shot what I want to do is go for a
lot of negative space we're gonna shoot

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at low we're gonna cut off kind of it
when he's right here at the cap and I'm

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gonna shoot with mostly background and
mostly like kind of sky and the back so

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we get this beautiful negative space
kind of you with this scene we could

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expose any number of ways now it's 12
something thirties with that terrible

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time to actually be shooting but we're
still getting someone directional light

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at least the light within place to our
backs that means that we can still work

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with this type of a scene if the light
is directly overhead there's no way for

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us to really modify or placed against
our backs and that's when it difficult

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to shoot alright so I'm gonna have you
in the scene right now and then we're

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gonna expose it a whole bunch of number
of ways now she wants to do real quick

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on the pose we're gonna go for a very
whimsical kind of work and the final

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shot but I want to get its gonna be a
really bright and airy shot against you

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in the back

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ok so what have you do is probably kick
kick the back leg over the site so I

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don't know your back like a good idea I
see well figured out one way or the

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other

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ok they're gonna kick that side and have
you hold the dress with the left hand

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and we have to work a little bit with
the wind because it is really really

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windy right now so we're going to wait
for the wind to die and when it dies

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we're gonna catch the balloons that are
right up in the air as kind of I wanted

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to be a little bit to the side now we're
gonna be shooting anything from

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basically our silhouettes over to
Brighton area shot and with the

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silhouettes in order for it to look good
when I don't want is Whitney looking

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into the camera because what happens is
when we shoot a silhouette we want to

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see profile we want to see shape on the
face otherwise if you shoot a silhouette

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with me looking directly at the camera
while you can't see any visual detail

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there's no shape they're just kind of a
block so when you can actually be

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looking kind of towards the blue inside
their ego and we have the hair pulled

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over on this side that looks awesome and
we're going to see wait for the wind

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becoming a place so as far as camera
settings go because this camera and

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basic DSLR their limited to 14
thousandth of a second we do need to

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bring the after up so I'm gonna be
shooting around 56 I might drop it down

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to f4 when we get to count the slower
shatters I'm gonna go from a very dark

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to a very bright look we're gonna show
you that artistically any of these looks

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are fine it just depends on what you're
going for the only incorrect exposure is

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the one that doesn't match what you're
going for artistically otherwise well it

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just depends on the look and I think my
favorite looking this way I can already

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tell you my favorite look is going to be
basically with this beautiful bright

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blue sky behind her and it's going to
have a really nice bright and airy look

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which would look awesome with like
vintage telling ok ok we're going to the

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shot one thing I do have to do is my
thirty five-millimeter on my d5200 that

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we can get a little bit wider I'm gonna
shoot low the reason why is I don't want

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to get any of the city backdrop in there
I just want the ocean blue and sky blue

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in the backdrop so it's gonna have an
absolutely wonderful look to it very

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simple very clean yellow on blue it's
gonna look awesome but getting low does

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mean that we're gonna have to play on a
little bit we might have to have leaned

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forward a tiny bit because we are
shooting from a lower angle I'm also

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gonna crop at the cabbage I mention so
let's go ahead and start

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and I'm gonna get into position it and
more ab workouts my gosh it burning it

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gonna slow down the shitter again

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perfect in a slowdown

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can

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so hopefully this video helps you an
understanding that in any particular

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scene there is more than one
artistically correct exposure sure we

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can go for that correct or that perfect
technical exposure but really it matters

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what we're going for an overall
composition now for the particular scene

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was shot everything from the silhouette
to the bright light and airy shot now

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what was your favorite when I showed you
all of them can pick you like them all

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they're all equally awesome I kinda
preferred the Brighton area look but

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that's kind of what I was going for in
this scene but really in any particular

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scene the only right or the correct
exposure the one you're going for if you

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don't get the correct exposure or that
desired exposure than you can say okay

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we need to look back on what we've done
make sure we get the right exposure the

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one that fits your overall vision for
this video we can head on to the next

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one now

結果 (中文) 3:

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有艺术一点，我想
这个视频谈的事就是

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没有正确的
暴露

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让我说如果我们
那里这是不正确的

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曝光，基本上是当你的
措辞曝光是不是你想要的

5
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这不是你想要的曝光，这是为什么
从这整个过程我一直

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说是至少一个谈论
曝光我总是说不

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他们基本所需的
暴露的是如果我有正确的

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00:00:25859——> 00:00:29说，150
暴露比认为，基本上
意义，那不是我的理想

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曝光的原因，我想这是因为我把
似乎暴露

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任何数量的方式，它只是
再次回来艺术是什么

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为一个特定的场景，我要给
你正是我的意思是在这个特定的

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场景因为在这个场景中，我们有几种不同的方式
射击和

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暴露场景的不同
的艺术效果，让我们去谈

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的现场很快所以我们
这里是我们可爱的模型
惠特尼
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她穿着一件黄色的衣服，我们
有黄色的气球和任何你可以

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猜为什么，如果你们说这是
因为免费开胃因为

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是公司的配色方案，那么你
绝对正确，所以我想要的是

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我们将这个场景我知道
我们会拍摄在蓝色背景

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是拉古纳海滩好
背景来看这可爱的亲切的目光

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简直让人难以置信，因为它的
所有蓝色的背景是我想要的

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这是一个很好的对比，你看我们的
服装等与

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气球我们去黄
由于公司颜色为蓝色，

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我们会得到这个美丽的流行
关闭背景看起来现在

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镜头我想做的是去一个
很多负面的空间，我们要把

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低我们要切断种它
当他在这里的帽子和我

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要拍摄的主要背景和
大多喜欢天空和后面，

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我们得到这个美丽的负空间
种你这个场景我们可以

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揭露任何数量的方式现在是12岁，
什么可怕的

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时间实际上是拍摄但我们仍然让人
定向光

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至少光在的地方我们的
背后，意味着我们仍然可以工作

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这种场景如果光
直接开销有没有办法

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我们真的修改或放在