How to take a great picture - Carolina Molinari

141,694 views ใƒป 2013-07-29

TED-Ed


ืื ื ืœื—ืฅ ืคืขืžื™ื™ื ืขืœ ื”ื›ืชื•ื‘ื™ื•ืช ื‘ืื ื’ืœื™ืช ืœืžื˜ื” ื›ื“ื™ ืœื”ืคืขื™ืœ ืืช ื”ืกืจื˜ื•ืŸ.

ืชืจื’ื•ื: Ido Dekkers ืขืจื™ื›ื”: benyamin zinshtein
00:08
Hmmm, that's not what we want, is it?
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ื”ืžืžืž, ื–ื” ืœื ืžื” ืฉืื ื—ื ื• ืจื•ืฆื™ื, ื ื›ื•ืŸ?
00:11
Today's digital cameras do a lot for us,
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ื”ื™ื•ื ืžืฆืœืžื•ืช ื“ื™ื’ื™ื˜ืœื™ื•ืช ืขื•ืฉื•ืช ื”ืจื‘ื” ื‘ืฉื‘ื™ืœื ื•,
00:13
but there's no replacement for the human eye.
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ืื‘ืœ ืื™ืŸ ืชื—ืœื™ืฃ ืœืขื™ืŸ ื”ืื ื•ืฉื™ืช.
00:16
It's important to learn
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ื–ื” ื—ืฉื•ื‘ ืœืœืžื•ื“
00:17
how cameras work with light to create an image,
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ืื™ืš ืžืฆืœืžื•ืช ืขื•ื‘ื“ื•ืช ืขื ืื•ืจ ื›ื“ื™ ืœื™ืฆื•ืจ ืชืžื•ื ื”,
00:19
that way we'll know what's going on
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ื›ืš ื ื“ืข ืžื” ืงื•ืจื”
00:21
when it's time to capture a moment.
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ื›ืฉืžื’ื™ืข ื”ืจื’ืข ืœืœื›ื•ื“ ืืช ื”ืจื’ืข.
00:23
There are three variables
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ื™ืฉ ืฉืœื•ืฉื” ืžืฉืชื ื™ื
00:25
that determine if you're getting the right amount of light
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ืฉืงื•ื‘ืขื™ื ืื ืืชื ืžืงื‘ืœื™ื ืืช ื”ื›ืžื•ืช ื”ื ื›ื•ื ื” ืฉืœ ืื•ืจ
00:27
for the correct exposure.
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ืœื—ืฉื™ืคื” ื ื›ื•ื ื”.
00:29
With a manual camera,
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ืขื ืžืฆืœืžื” ื™ื“ื ื™ืช,
00:30
we're able to change any of the variable ourselves.
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ืื ื—ื ื• ืžืกื•ื’ืœื™ื ืœืฉื ื•ืช ื›ืœ ืื—ื“ ืžื”ืžืฉืชื ื™ื ื‘ืขืฆืžื ื•.
00:33
Different settings can result in really different pictures.
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ื›ื™ื•ื•ื ื™ื ืฉื•ื ื™ื ื™ื›ื•ืœื™ื ืœื™ืฆื•ืจ ืชืžื•ื ื•ืช ืžืžืฉ ืฉื•ื ื•ืช.
00:36
Let's look at the process together.
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ื‘ื•ืื• ื ื‘ื™ื˜ ื‘ืชื”ืœื™ืš ื™ื—ื“.
00:39
First, see this here?
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ืจืืฉื™ืช, ืืชื ืจื•ืื™ื ืืช ื–ื” ืคื”?
00:41
This is the aperture.
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ื–ื” ื”ืฆืžืฆื.
00:42
It's the hole that light passes through.
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ื–ื” ื”ื—ื•ืจ ืฉื“ืจื›ื• ืขื•ื‘ืจ ื”ืื•ืจ.
00:45
If we make the aperture big,
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ืื ื ื’ื“ื™ืœ ืืช ื”ืฆืžืฆื,
00:46
we'll have more light, true,
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ื™ื”ื™ื” ืœื ื• ืขื•ื“ ืื•ืจ, ื ื›ื•ืŸ,
00:48
but the sharpness of your photo will decrease
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ืื‘ืœ ื”ื—ื“ื•ืช ืฉืœ ื”ืชืžื•ื ื” ืชืคื—ืช
00:50
very quickly from your focus point,
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ืžื”ืจ ืžืื•ื“ ืžื ืงื•ื“ืช ื”ืžื™ืงื•ื“ ืฉืœื›ื,
00:52
backward and forward.
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ืงื“ื™ืžื” ื•ืื—ื•ืจื”.
00:53
This is what we call shallow depth of field.
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ื–ื” ืžื” ืฉืื—ื ื• ืงื•ืจืื™ื ืœื• ืขื•ืžืง ืฉื“ื” ืจื“ื•ื“.
00:56
If we have a very small aperture,
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ืื ื™ืฉ ืœื ื• ืฆืžืฆื ืžืžืฉ ืงื˜ืŸ,
00:58
we'll have less light but a deeper depth of field.
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ื™ื”ื™ื” ืœื ื• ืคื—ื•ืช ืื•ืจ ืื‘ืœ ืขื•ืžืง ืฉื“ื” ื’ื“ื•ืœ ื™ื•ืชืจ.
01:01
For portraits, it can be nice to have a sharp figure
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ืœืคื•ืจื˜ืจื˜ื™ื, ื–ื” ื™ื›ื•ืœ ืœื”ื™ื•ืช ื ื—ืžื“ ืฉืชื”ื™ื” ื“ืžื•ืช ื—ื“ื”
01:03
separate from a somewhat blurry background
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ืžื•ืคืจื“ืช ืžืจืงืข ืžืขื˜ ืžื˜ื•ืฉื˜ืฉ
01:05
so I would suggest a large aperture.
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ืื– ื”ื™ื™ืชื™ ืžืฆื™ืขื” ืฆืžืฆื ืจื—ื‘.
01:08
Aperture is measured in f-stops.
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ืฆืžืฆื ื ืžื“ื“ ื‘ืขืฆื™ืจื•ืช f.
01:10
This can get a little confusing
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ื–ื” ื™ื›ื•ืœ ืœื”ื™ื•ืช ืžืขื˜ ืžื‘ืœื‘ืœ
01:12
because lower numbers mean bigger apertures
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ืžืคื ื™ ืฉืžืกืคืจื™ื ื ืžื•ื›ื™ื ื™ื•ืชืจ ืื•ืžืจื™ื ืฆืžืฆื ืจื—ื‘ ื™ื•ืชืจ
01:14
and higher numbers mean smaller apertures.
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ื•ืžืกืคืจื™ื ื’ื‘ื•ื”ื™ื ื™ื•ืชืจ ืื•ืžืจื™ื ืฆืžืฆื ืกื’ื•ืจ ื™ื•ืชืจ.
01:17
Next, there's shutter speed to think about.
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ืœืื—ืจ ืžื›ืŸ, ื™ืฉ ืืช ืžื”ื™ืจื•ืช ื”ืชืจื™ืก ืœื—ืฉื•ื‘ ืขืœื™ื”.
01:20
The shutter acts like a curtain
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ื”ืชืจื™ืก ืžืชืคืงื“ ื›ืžื• ื•ื™ืœื•ืŸ
01:21
that covers the sensor,
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ืฉืžื›ืกื” ืืช ื”ืกื ืกื•ืจ,
01:23
and it only opens when you release the shutter button.
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ื•ื”ื•ื ืจืง ื ืคืชื— ื›ืฉืืชื ืžืฉื—ืจืจื™ื ืืช ื›ืคืชื•ืจ ื”ืชืจื™ืก.
01:26
If we want less light,
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ืื ืื ื—ื ื• ืจื•ืฆื™ื ืคื—ื•ืช ืื•ืจ,
01:27
we open the shutter for a shorter time.
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ืื ื—ื ื• ืคื•ืชื—ื™ื ืืช ื”ืชืจื™ืก ืœื–ืžืŸ ืงืฆืจ ื™ื•ืชืจ.
01:30
If we want more light,
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ืื ืื ื—ื ื• ืจื•ืฆื™ื ื™ื•ืชืจ ืื•ืจ,
01:31
we open it for a longer time,
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ืื ื—ื ื• ืคื•ืชื—ื™ื ืœื–ืžืŸ ืืจื•ืš ื™ื•ืชืจ,
01:32
but we run the risk of getting
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ืื‘ืœ ืื ื—ื ื• ืžืกืชื›ื ื™ื
01:34
a motion-blurred picture.
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ื‘ืชื ื•ืขื” ืขื ื˜ืฉื˜ื•ืฉ ืชื ื•ืขื”.
01:36
The speed is measured in seconds
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ื”ืžื”ื™ืจื•ืช ื ืžื“ื“ืช ื‘ืฉื ื™ื•ืช
01:37
and fractions of seconds.
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ื•ื—ืœืงื™ ืฉื ื™ื•ืช.
01:40
For shooting sports or anything with a lot of movement,
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ืœืฆื™ืœื•ื ืกืคื•ืจื˜ ืื• ื›ืœ ื“ื‘ืจ ืขื ื”ืจื‘ื” ืชื ื•ืขื”,
01:43
we'll need faster speeds.
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ืื ื—ื ื• ื ืฆื˜ืจืš ืžื”ื™ืจื•ื™ื•ืช ื™ื•ืชืจ ื’ื“ื•ืœื•ืช.
01:45
For taking awesome night landscapes,
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ืœืฆื™ืœื•ื ื ื•ืคื™ ืœื™ืœื” ืžื“ื”ื™ืžื™ื,
01:46
longer exposures will be better,
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ื—ืฉื™ืคื” ืืจื•ื›ื” ืชื”ื™ื” ื˜ื•ื‘ื” ื™ื•ืชืจ,
01:48
but we'll need a tripod to steady the shot
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ืื‘ืœ ืื ื—ื ื• ื ืฆื˜ืจืš ื—ืฆื•ื‘ื” ืœืฆื™ืœื•ื ื™ืฆื™ื‘
01:50
and prevent motion blur.
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ื•ืœืžื ื™ืขืช ื˜ืฉื˜ื•ืฉ ืชื ื•ืขื”.
01:52
Another cool thing we can do with light exposures
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ื“ื‘ืจ ืžื’ื ื™ื‘ ื ื•ืกืฃ ืฉืื ื—ื ื• ื™ื›ื•ืœื™ื ืœืขืฉื•ืช ืขื ื—ืฉื™ืคื” ืœืื•ืจ
01:54
is light painting,
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ื”ื™ื ืฆื™ื•ืจ ื‘ืื•ืจ,
01:56
drawing in the dark with a torch
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ืฆื™ื•ืจ ื‘ื—ื•ืฉืš ืขื ืœืคื™ื“
01:57
or the light of a cell phone.
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ืื• ืื•ืจ ืฉืœ ื˜ืœืคื•ืŸ ื ื™ื™ื“.
01:59
Lastly, ISO sensitivity controls
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ืœื‘ืกื•ืฃ, ืจื’ื™ืฉื•ืช ISO ืฉื•ืœื˜ืช
02:02
how sensitive the sensor is to light.
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ื‘ื›ืžื” ืจื’ื™ืฉ ื”ืกื ืกื•ืจ ืœืื•ืจ.
02:04
If we use low sensitivity,
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ืื ื ืฉืชืžืฉ ื‘ืจื’ื™ืฉื•ืช ื ืžื•ื›ื”,
02:06
we'll need more light to register a photo.
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ืื ื—ื ื• ื ื–ื“ืงืง ืœื™ื•ืชืจ ืื•ืจ ื›ื“ื™ ืœืงื‘ืœ ืชืžื•ื ื”.
02:09
With a higher sensitivity,
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ืขื ืจื’ื™ืฉื•ืช ื’ื‘ื•ื”ื” ื™ื•ืชืจ,
02:10
we'll be able to get a picture
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ืื ื—ื ื• ื ื”ื™ื” ืžืกื•ื’ืœื™ื ืœืงื‘ืœ ืชืžื•ื ื”
02:11
with less available light.
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ืขื ืคื—ื•ืช ืื•ืจ ื–ืžื™ืŸ.
02:13
100 ISO is a low sensitivity,
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ISO 100 ื”ื•ื ืจื’ื™ืฉื•ืช ื ืžื•ื›ื”,
02:16
while 6400 ISO is a high one.
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ื‘ืขื•ื“ ISO 6400 ื”ื™ื ื’ื‘ื•ื”ื”.
02:19
If we increase sensitivity,
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ืื ื ื’ื‘ื™ืจ ืจื’ื™ืฉื•ืช,
02:21
we'll be able to use faster speeds
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ืื ื—ื ื• ื ื”ื™ื” ืžืกื•ื’ืœื™ื ืœื”ืฉืชืžืฉ ื‘ืžื”ื™ืจื•ื™ื•ืช ื’ื‘ื•ื”ื•ืช ื™ื•ืชืจ
02:22
and smaller apertures,
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ื•ืฆืžืฆื ืงื˜ืŸ ื™ื•ืชืจ,
02:24
but we'll get noisier images.
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ืื‘ืœ ื ืงื‘ืœ ืชืžื•ื ื•ืช ืจื•ืขืฉื•ืช ื™ื•ืชืจ.
02:26
Good thing we have something to tell us
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ื˜ื•ื‘ ืฉื™ืฉ ืœื ื• ืžืฉื”ื• ืฉื™ื’ื™ื“ ืœื ื•
02:28
if we're getting the correct amount of light
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ืื ืื ื—ื ื• ืžืงื‘ืœื™ื ืืช ื›ืžื•ืช ื”ืื•ืจ ื”ื ื›ื•ื ื”
02:29
to get a good exposure,
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ื›ื“ื™ ืœืงื‘ืœ ื—ืฉื™ืคื” ื˜ื•ื‘ื”,
02:31
the light meter.
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ืžื“ ื”ืื•ืจ.
02:32
Sound good to you?
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ื ืฉืžืข ืœื›ื ื˜ื•ื‘?
02:34
Now it's time to get out there
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ืขื›ืฉื™ื• ื”ื–ืžืŸ ืœืฆืืช ื”ื—ื•ืฆื”
02:35
and practice taking pictures
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ื•ืœื”ืชืืžืŸ ื‘ืฆื™ืœื•ื
02:36
under different conditions,
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ืชื—ืช ืชื ืื™ื ืฉื•ื ื™ื,
02:38
so you know what to do
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ืื– ืืชื ื™ื•ื“ืขื™ื ืžื” ืœืขืฉื•ืช
02:39
any time you want to take the best picture.
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ื›ืœ ืคืขื ืฉืืชื ืจื•ืฆื™ื ืœืฆืœื ืืช ื”ืชืžื•ื ื” ื”ื›ื™ ื˜ื•ื‘ื”.
ืขืœ ืืชืจ ื–ื”

ืืชืจ ื–ื” ื™ืฆื™ื’ ื‘ืคื ื™ื›ื ืกืจื˜ื•ื ื™ YouTube ื”ืžื•ืขื™ืœื™ื ืœืœื™ืžื•ื“ ืื ื’ืœื™ืช. ืชื•ื›ืœื• ืœืจืื•ืช ืฉื™ืขื•ืจื™ ืื ื’ืœื™ืช ื”ืžื•ืขื‘ืจื™ื ืขืœ ื™ื“ื™ ืžื•ืจื™ื ืžื”ืฉื•ืจื” ื”ืจืืฉื•ื ื” ืžืจื—ื‘ื™ ื”ืขื•ืœื. ืœื—ืฅ ืคืขืžื™ื™ื ืขืœ ื”ื›ืชื•ื‘ื™ื•ืช ื‘ืื ื’ืœื™ืช ื”ืžื•ืฆื’ื•ืช ื‘ื›ืœ ื“ืฃ ื•ื™ื“ืื• ื›ื“ื™ ืœื”ืคืขื™ืœ ืืช ื”ืกืจื˜ื•ืŸ ืžืฉื. ื”ื›ืชื•ื‘ื™ื•ืช ื’ื•ืœืœื•ืช ื‘ืกื ื›ืจื•ืŸ ืขื ื”ืคืขืœืช ื”ื•ื•ื™ื“ืื•. ืื ื™ืฉ ืœืš ื”ืขืจื•ืช ืื• ื‘ืงืฉื•ืช, ืื ื ืฆื•ืจ ืื™ืชื ื• ืงืฉืจ ื‘ืืžืฆืขื•ืช ื˜ื•ืคืก ื™ืฆื™ืจืช ืงืฉืจ ื–ื”.

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