what I left out—what I was choosing not to include in my compositions. To a young shooter learning the ropes this was a major revelation! If you like the index card idea, you can go all out by adding a second card. Holding the two cards to your eye and altering the distance between them simulates the variable field view of a zoom lens. Expensive equipment manufacturers might not appreciate this (almost) no-cost gimmick, but it can be invaluable to the new shooter developing his eye.
Figure 2.5a,b Go ahead, put a frame around the world. The world is a mighty chaotic place.
Exclude, Exclude, Exclude This is the motivating force behind every skilled shooter: every element in a composition is there for a reason. Like every light has a function, every movement of the camera must similarly advance the story. As we go about our daily lives, the exclusion of irrelevant story elements is subconsciously done for us, as the human eye is adept at framing the world and focusing only on what is integral. In our minds, we frame an establishing scene every time we enter a new locale, such as when entering a coffee shop. Our eye is drawn to a friend seated at a table, and as we move closer, we see (in close up) the relevant story details in her face—maybe a tear, a runny nose, or bloody lip. We see these details and try to decipher their meaning, but we don’t notice the many distracting elements behind, around, and in front of her. The
The DV Storyteller
Figure 2.6 Frame your shot carefully! The most valuable skill that a shooter can develop is the ability to exclude what is not helpful or essential in the frame. Telling effective stories with a DV camera demands that you rigorously control your frame’s boundaries, like the Old Masters and photographers of old.
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