Prática de Shadowing: Making Composition Mistakes? Here Is How To Fix Them - Aprenda a falar inglês com vídeo
Criando lição...
1
We're all making mistakes, right?
2
It doesn't matter if you're a beginner or you're a more advanced photographer.
3
Sooner or later, or sometimes it happens that you are making a mistake.
4
But what is important that these mistakes do not become habits and habits become part of our photography.
5
We don't want that.
6
So today we're going to be looking at mistakes and check if there, if we didn't develop any bad habits.
7
And if we did, we will find a way to fix them.
8
To do that, we will go beyond the rules.
9
You have the general composition rules that we're using, like the rule of thirds or symmetry or Fibonacci or whatever.
10
These rules are at the moment, they are not important.
11
We will focus on other things.
12
We will focus on actually what is important.
13
What is important in our photograph?
14
The purpose and the reason of us being a photographer and holding a camera, it gives us the responsibility to show to the person who is coming to look at your photo.
15
What is it important there?
16
What did we try to show?
17
He is not coming to look how nicely we put the subjects exactly on the rule of thirds.
18
No, he's coming to look at the photo.
19
He is not thinking rules in mind.
20
We're thinking rules in mind and we shouldn't think rules in mind.
21
We should think what we want to show and how exactly we want to show it.
22
So before we jump into it, I want to show you this photograph.
23
It's just a normal photograph of two guys carrying a beer, probably going to have a nice weekend.
24
I could frame it with the rule of thirds in mind, taking a third of ground, third of them and third of sky.
25
But that would create a completely different photo.
26
The tight framing on the bottom just give a different feeling.
27
You would say that these guys are on the top of the world, right?
28
But it was just a normal hill, nothing so special.
29
It's just a very low angle and the tight framing are the ones who did that.
30
I could follow the rule, but photographing that photo according to the rule, it would just create another boring photo.
31
We don't want that.
32
We want our photos to speak.
33
We want our photos to tell stories
34
and we want our photos to tell the stories the way we want to tell them.
35
What is the other purpose when we are composing the photograph?
36
We want to show where in our photograph there is something interesting
37
and we want to direct the viewer attention to that interesting thing.
38
Basically show the subject that we want to show.
39
We can do it by many ways.
40
We can work with shape.
41
We can work with size.
42
We can work with color.
43
We can work with light.
44
Even a simple gesture will do.
45
It doesn't matter how, doesn't matter the method that we're using, but the idea is that we want to direct the viewer to
46
that particular person or that particular object that we're intending to.
47
I have a video that we will see somewhere here that is focusing exactly on that.
48
How to direct attention to a certain person in a broader scene.
49
Now let's talk about the second big thing that is very important.
50
And it's the background.
51
The background of your photograph is your stage.
52
If you go to a theater or if you watch a movie, you will notice that every single visual piece in that background or in that scene, it has a reason to be there.
53
It has a purpose.
54
There is nothing random there.
55
The job of the photography director in the movie
56
and the stage management team is to prepare these backgrounds
57
and create the composition in such a way that nothing is distracting us from the story.
58
We want our viewer or the person who is viewing our photos, films, theater, we want him in the story.
59
We don't want his attention to go around and notice something distracting and just lose interest in our photograph.
60
We want him engaged.
61
So to do that, we should have cleaner background.
62
And that background should support whatever our hero or our object is doing.
63
And the keyword here is support and not distract because the background can be our hero and also can be our villain.
64
And your job as a photographer or as someone who is holding the camera is to be sort of a background police.
65
You will always throw one eye on the subject that you're photographing, but then you should throw another eye to what's happening around.
66
Because there can be a lot of random stuff there.
67
Trust me, I know that.
68
It happened to me with years and it happens to all the people
69
that I teach that they are coming back home and they're finding a lot of surprises in their photos.
70
Just things that they didn't notice when they were shooting.
71
It can be cables, it can be poles, sticking out of people heads, garbage or just random pieces of paper somewhere.
72
You know, like all these small things that matter.
73
You need to evaluate if there is something that is stealing the attention of the viewer.
74
Is there a thief there?
75
I'm the police.
76
If there's a thief there, you should go away or I should reframe in such a way that you are not there.
77
It's very important to keep our backgrounds neat and clean.
78
And the biggest thief of all
79
that you should always be aware of are the other photographers they have some skillful ways to get themselves into our frames.
80
So these guys pay special attention to them.
81
We'll figure out the things with the background.
82
But sometimes you look at the photograph and it feels that something is off.
83
We can't really pinpoint on the problem what exactly is happening there, but it's just off.
84
Something is not right.
85
Well, usually when something like this happens, it's most likely that your photograph is unbalanced.
86
If the image is balanced, you feel harmony, everything is okay, everything feels in in the right place and we're good to go.
87
If the frame is unbalanced it creates some kind of tension.
88
So now tension is not always a bad thing.
89
Sometimes you do want to have some extra tension in your frame but it needs to be intentional.
90
If you just don't understand what is not working there
91
and why it feels weird it means that you don't understand what is happening and you need to figure that out.
92
So let's look at typical balance situations.
93
The first type of balance that I want to speak about is symmetrical balance.
94
Whatever you have on one side is duplicated on the other side, and then they kind of balance each other.
95
It's quite easy, right?
96
But the other one is asymmetrical.
97
You have a smaller shape, and then you have a bigger shape.
98
How do you balance this?
99
You know, the bigger shape will always draw more attention.
100
So there is one simple trick to do it.
101
You just move that bigger shape closer to the center of the frame.
102
And if the shape is a person, well, just make him tilt a little bit to one side and look towards the other smaller object.
103
And if the other smaller object also moves towards him, they will create some kind of inverbal communication there.
104
And that's it, voila, you create a symmetrical balance of two different shapes on different sizes.
105
Apart of shapes, we also have different tonality.
106
For example, one part of the frame can be darker and the other part can be brighter.
107
So you kind of want to have a balance of how much bright
108
and how much dark and how much bright you have in your image.
109
If these are equal, the image will feel very balanced.
110
But if you have a lot of darkness on the top of the frame, it will create visual weight that will push the attention of the person who is looking on the photograph down, like in this photograph.
111
And it works exactly the other way around.
112
If you have a dark matter on the bottom of the frame and someone is standing there, that person will look as stable as a rock because the image is bottom heavy.
113
And, but that's kind of a natural way of things.
114
We're not used to have the rocks on the top.
115
We are used to have them on the bottom and that kind of emphasized stability in the strength.
116
And it works like that with any object.
117
We put one big object on the one side, the attention is put to the other side.
118
So we have to have something there to get that attention.
119
Works other ways around as well.
120
And let's look at the photo from Ethiopia that I really, really like.
121
It kind of combines all the types of balance.
122
You can see that the shapes are balancing each other through the frame.
123
You have camel on one side, camel on the other side.
124
You have a person on one side and a person on the other side.
125
And the tonality between the sky and the ground, it's also balanced.
126
But what is making a little bit of an unbalance here?
127
It's actually they're all gazing to one direction.
128
And the only thing that brings that gaze back is that little bird.
129
I like that photograph.
130
I was very lucky to have the bird helping me to balance it.
131
The next nail that I'm going to hit hard is bokeh.
132
Shallow depth of field, we're all guilty of using it.
133
You know, it's just such an easy way to take any scene
134
and get rid of the background or whatever is disturbing us there.
135
We just make an aperture of 1.2 and voila, everything disappears.
136
And our object has this, what do you call it today?
137
3D pop and that's it.
138
We're happy.
139
This is a brilliant photo.
140
We're going to get a lot of likes, but there is an issue here.
141
The issue is that you are disconnecting the subject from the environment completely.
142
If you're doing headshots or wedding photos, that's absolutely fine.
143
But if you're like me or some of us who are doing travel and street photography, come on, we're going to all these places far, far away.
144
Yes, the faces have their say, but come on, what about the environment?
145
What about the sense of place where they are?
146
Clicking portraits of people in other countries doesn't necessarily tell the story about that country.
147
So if you want to tell a little bit more, you need to start bringing context in.
148
And at the moment you start bringing context in, you will start learning more about composition because, you know, you can blur stuff out.
149
You will have to deal with the background, with the distractions or whatever is there.
150
And overall, relied on photographs captured with low aperture, it creates one type of portfolio when everything looks more or less the same.
151
Like if someone is looking at your portfolio, he can't really know what you can do because everything is tight shots with a blurred background behind.
152
And shooting that way leads you to lack of awareness to what's happening on the scene.
153
You don't see the cables, you don't see the lines, you don't see anything.
154
You're just focused on the one subject and try to place him in the middle or somewhere on the side.
155
But that's most of the job that you're doing.
156
Closing down the aperture forces you to be more intentional, forces you to think more and to be basically more present in the scene
157
and of course it helps you with giving context to whatever you're photographing.
158
Then you're starting playing with all the objects, foreground, middle ground, background.
159
You start understanding that the images are not a single layer, that they're actually running in depth.
160
There are other things there that you can include, reduce.
161
You start learning composition at the moment you start closing your aperture.
162
I think that composition starts with f11, not less than that.
163
If you learn how to shoot properly at f11, you're on the way.
164
You're mastering composition because everything becomes your responsibility.
165
You're not blurring things away.
166
You're taking into account the light, the tonality, the distractions in the background, the interaction of other objects in the background.
167
You really need to organize everything.
168
Composition starts at f11.
169
Now we understood that we need to be a little bit more intentional with closed apertures.
170
But now I'm going to take it a step further.
171
We need to be intentional in general.
172
Don't get outside and approach subject and make a click here
173
and click there and without really thinking of what are you doing
174
and counting on the fact that you're going to come back home, look at your photographs and see, oh, there is a nice picture here.
175
Oh, there, there is another one.
176
You're kind of getting surprises.
177
If you're intentional, you are not getting these surprises.
178
I know every time when I got a good shot, because I'm going there and I'm approaching the scene or the subject with the intention to capture that good shot.
179
And that intention that I have, it forces me to explore different angles, to analyze the light, to analyze everything.
180
I'm just like a scanner machine.
181
I'm looking at the subject background and distance from the subject, how far he is from the background or whatever it is, what other objects are there, how can I move more efficiently.
182
You know, there's a whole process that happens inside, but that process will not happen if you're not intentional.
183
If you're just like, oh, this is cool.
184
Oh, this is cool.
185
That's not going to cut guys.
186
If you want to learn to be better, you need to be very, very intentional.
187
And why will on the subject of being intentional, I want to emphasize on other things.
188
And it's the fear of missing out.
189
Control your FOMO.
190
At the moment FOMO hits you, you just run.
191
You don't see anything.
192
Like the intention stops there.
193
You're just running after like your heart start pumping adrenaline into your blood system and you're just losing it.
194
You're running and you're trying to capture the whatever is there.
195
You're not stopping down.
196
If you see that you're in that stage of you're just clicking one shot after the other, take a step back and say,
197
okay, I am here in the FOMO scenario, I need to take a step back, look around again, reevaluate what I'm doing,
198
reevaluate the subject and then approach it with a more intentional way.
199
Don't give up to FOMO.
200
It's a big enemy.
201
And while we're there in being intentional, we should explore and we should explore different angles.
202
Some things look in a certain way just from that particular angle.
203
And that camel wouldn't have this tree growing out of his head if I was taking even one step aside.
204
Every time you're changing your angle, you're changing the perspective, the way that the things are perceived.
205
You have your subject, you have the intention how to photograph it, you analyze the light.
206
work on your angles angles are important don't just shoot on
207
the level of your eyes you have knees these knees bent
208
so you know just take a lower angle
209
or climb on something explore it you might find quite interesting things
210
if you shift your angles we're also very much used to look at everything from eye distance
211
so exploring a different angle and presenting something
212
that is radically new it's interesting why all these drone shots you think took off
213
so so well because it gave a perspective
214
that was never seen before it was something new today we're already oh another drone shot it looks the same
215
but when they were at the beginning it just came a perspective
216
that we were not used to see so eye level is fine
217
but you know try try to go
218
and experiment with angles a little bit more
219
and similarly with symmetry we all like this very nice aligned lines straight horizon it's very nice
220
but you don't have to be straight
221
and tidy in every particular scene there are scenes
222
when you can tilt your screen a little bit you know the camera is not fixed.
223
It's in your hand.
224
It doesn't have to be always horizontal or vertical.
225
You can really play with that thing.
226
You can really shift the perspective and create some interesting images.
227
So try that one.
228
So now let's take a step back and take a rest from the different angles and being intentional.
229
Well, it's still being intentional, but now I want you to approach every subject of photography that you're approaching as a scene.
230
Don't fixate on the object itself.
231
Like if you're photographing a person, try to see what else is there.
232
What else you can include, how to make it more interesting.
233
Perhaps you can create a whole photo story.
234
The street photography is about that.
235
It's about connecting different things inside of the frame.
236
It's not a singular object.
237
Yes, some people are focusing very much on the portraiture, photography, and just taking images of people walking.
238
But these images, if the person is not necessarily interesting, they don't have a lot of value.
239
But stories do have value.
240
So try to find if there is a story there, look at your subject, you know, get over the FOMO, photograph him, and then take a step back and say,
241
huh, maybe there is something else that I can join to that frame.
242
So just slow down, take a breath, and look at everything as a scene and see if that scene can enrich what you tried to photograph initially.
243
And you will find in many cases that it will.
244
Consistently focusing on isolated elements,
245
it's like shooting with 200mm and 2.8 you're just running with this close frame thinking.
246
So what I'm asking you, put your mental 35mm lens, switch your aperture to f11, and start looking at everything around, not just on the object that you tried to photograph at the beginning.
247
Explore everything.
248
And there is one more thing that I want to ask you.
249
When you're coming and you're photographing people, also put intention to your crops.
250
Don't cut people's hands and their shoulders.
251
Just don't do these weird crops that are deforming the body.
252
I'm fine with cutting someone's head, but don't cut the limbs.
253
It just looks very, very, very strange.
254
And while we're on the subject of cutting, I want to remind us something else, that we should embrace details.
255
Details are extremely powerful storytellers.
256
You know, we don't need the whole building to know
257
that there is a building there windows is like having a part of a window is enough.
258
We don't need the whole car to know that the car is there.
259
Having a part of the car is enough.
260
Similarly, we don't need the whole human to be presented in the frame.
261
The human holding something or like the human hand, it's a very powerful storyteller.
262
So sometimes when you're in a crowded place
263
and there is no possibility to take a clean shot or having a clean composition, focus on details.
264
Details can tell unimaginable stories.
265
Look at these hands, look at the stories that they tell.
266
A fisherman, a rickshaw driver, a fortune teller, a garlic seller, a worshipper praying hands, hands buying something,
267
hands selling something, hands holding sacred text, hands playing a musical instrument, hands of a warrior, hands of someone getting married.
268
And the same principle applies to feet.
269
You can line up different photographs of feet of different people that are doing different things, and every single photo of this feet will tell a different story.
270
It triggers our imaginations, we try to reconstruct the story from the details we have.
271
This is the beauty of being a human being.
272
We have the ability to take just a little part of something and imagine the rest.
273
So now from hands, let's move to something much more prominent.
274
Let's speak about portraiture.
275
When we're shooting outside and the light conditions are changing and we're shooting random people on the street,
276
we need to pay very good attention to one thing, one thing only that will drastically improve your photographs.
277
You need to pay attention on the eyes.
278
If your eyes see the other person's eyes in a very distinct way,
279
if they're somehow shaded the camera will not see them then you will have to push this back in editing
280
and it will still never be as good
281
if you capture the eyes properly
282
when the eyes are lit in a proper way i saw the window to the soul
283
and if these eyes also have a little bit of a catch light
284
that photograph gets plus 10 bonus always look at the eyes always look at the eyes of the person
285
that you're photographing try to see their direction maybe when looking to one direction, the light will not be there.
286
Maybe when they're looking to another direction, suddenly there will be this catch light and you have the opportunity to capture a beautiful photograph.
287
Now I know that a lot of you are photographing people in stage scenarios.
288
If you have a stage scenario and the person already agreed to photograph, you are in full control.
289
There is no reason for you to take a bad photograph.
290
Move that person around, attach him to different backgrounds, move his face to different directions until you get the light on the right place. And communicate.
291
Communication is important.
292
That person shouldn't just stay in a passport photo-like scenario.
293
He should be more alive and more interesting, especially the ones that have no experience in being in front of the camera.
294
Talk to them about something.
295
Joke with them.
296
Tell them some stories.
297
Get some emotions out.
298
And then you will probably have a better portrait.
299
And the moment the person agrees, you have him.
300
And there is one more last thing that I want to speak about and this is a very important thing.
301
I want you to decide that you're ditching the I'll do it in post approach
302
and that request is actually for your own benefit.
303
I want you to ditch that mindset of doing it in post.
304
I know that this is a very split opinion online
305
but my experience of many years of photography can tell you that if you shoot better you need to edit less.
306
It relates to everything.
307
It relates to the cropping, it's related to the angle of shooting.
308
You will do the biggest effort possible, as much as you can, to capture the photograph the way you want it to be on the spot.
309
If you consistently try to shoot better, you will almost need no editing.
310
I often get approached on my Instagram page and people are asking me, Gil, what's your color grading technique or what are you doing here with the editing?
311
Can you explain me your editing process?
312
Well, there is a video of how I edit.
313
And you will see in that video that the photographs that I bring to editing, they almost don't require anything.
314
Just a little bit of a contrast fix and maybe a little bit of sharpening.
315
But there is already 85 to 90% done there.
316
If you continue walking around with the approach of I'm going to do it in post, you will not learn.
317
Similarly, like I said earlier, if you continue shooting at 1.2 and with close frames, you will not learn.
318
If you continue shooting focused only on the single subject, you will not learn.
319
So let's summarize the key takeaways.
320
Focus on what is important. Be mindful.
321
Be very intentional.
322
Keep a very close attention to the background and different thieves that can get into your background.
323
Try to close your aperture to improve your composition.
324
explore different angles, look at people's eyes, and in general, just try doing everything in camera.
325
We went through only a small fraction of things that you need to know about composition, but this is a start.
326
This is a good start.
327
And if you follow the advice that I gave you, you will grow.
328
There is no doubt that you will grow as a photographer.
329
You just need to go out and shoot often, as often as you can, and shoot intentional, and photograph, improve, you know, Just do that circle of try,
330
photograph, improve, try, photograph, improve.
331
You will see that in one year from now, your results will be better.
332
Don't expect that everything will change in one day, that you will go outside and today you will be intentional.
333
You will feel a little bit improvement, but little by little, little by little.
334
And in 10 years, you might be one of the greatest photographers alive. Who knows?
335
We never know who is going to be the next big thing.
336
So keep going, keep trying, get better.
337
And don't forget to like and subscribe.
338
See you next time.
339
Thank you.
✨ Vídeo recomendado
B21
148 frases
The simple habit to become a better photographer.
Business EnglishUniversity StudentsWorking Adults
B21
50 frases
Video
Business EnglishUniversity StudentsWorking Adults
B21
133 frases
The Art of Cinematic Composition
Business EnglishUniversity StudentsWorking Adults
B21
135 frases
I Wasted 6 Months Being Skinny Fat Until I Fixed This
Business EnglishUniversity StudentsWorking Adults
B21
76 frases
Tell Me A Time You Made a Mistake | Interview Questions and Answers
Business EnglishInterview EnglishUniversity Students
B21
417 frases
Daily English - You Don’t Have to Be Perfect to Be Proud - Intermediate English Podcast
Business EnglishDaily ConversationUniversity Students
B21
121 frases
5 Natural Frames That Will Change Your Street Photography
Business EnglishUniversity StudentsWorking Adults
B21
111 frases
how to edit vlogs
Business EnglishUniversity StudentsWorking Adults
B21
105 frases
Learn to Draw FASTER Than Others (SECRET Chinese Method)
Business EnglishUniversity StudentsWorking Adults
B23
260 frases
9 Investments for Better Learning
Business EnglishUniversity StudentsWorking Adults
B21
191 frases
Your Imagination Won't Fix Your Life
Business EnglishUniversity StudentsWorking Adults
B21
281 frases
How to actually make eye-catching 3D Scenes | After Effects
Business EnglishUniversity StudentsWorking Adults
Vocabulário e dicas de fala para esta lição
Esta aula de conversação de nível B2 usa o vídeo “Making Composition Mistakes? Here Is How To Fix Them”. Este vídeo tem 339 frases e 4256 palavras para praticar shadowing. A fala dura 21:33. O falante fala rápido, cerca de 197 palavras por minuto, então espere sons ligados e reduzidos. 87% das palavras estão entre as 3.000 mais comuns do inglês, por isso o vocabulário é fácil de acompanhar.
Vocabulário principal deste vídeo
As 15 palavras mais avançadas do vídeo, com pronúncia e significado:
| Palavra | Pronúncia | Significado |
|---|---|---|
| intentional adjetivo | /ɪnˈtɛnʃənəl/ | intencional |
| aperture substantivo | /ˈæp.ɚˌt͡ʃʊɹ/ | abertura |
| viewer substantivo | /ˈvju.ɚ/ | espectador, espetador |
| thief substantivo | /ˈθiːf/ | ladrão, ladra |
| scenario substantivo | /sɪˈnɛəɹioʊ/ | cenário |
| tonality substantivo | /toʊnˈæl.ɪ.ti/ | tonalidade |
| blur verbo | /blɝ/ | desfocar |
| camel substantivo | /ˈkæm(ə)l/ | camelo, camela |
| distract verbo | /dɪˈstɹækt/ | distrair |
| analyze verbo | /ˈæn.əˌlaɪz/ | analisar |
| crop substantivo | /kɹɑp/ | cultura, cultivo |
| storyteller substantivo | narrador, contador de histórias | |
| symmetrical adjetivo | /səˈmɛtrək(ə)l/ | simétrico |
| unbalanced adjetivo | desequilibrado | |
| voilà | /(v)wɑˈlɑ/ | eis |
Phrasal verbs que você vai ouvir
| Palavra | Significado |
|---|---|
| come back verbo | voltar |
| figure out verbo | descobrir, deduzir |
| get over verbo | superar |
| go away verbo | sair, partir |
| go out verbo | sair |
| miss out verbo | perder |
| slow down verbo | desacelerar |
| take off verbo | tirar |
Frases que vale a pena repetir
Frases curtas e completas do vídeo que você pode usar na conversa do dia a dia:
- We're all making mistakes, right?
- What is important in our photograph?
- What did we try to show?
- How do you balance this?
- Can you explain me your editing process?
Gramática neste vídeo
As estruturas que o falante mais usa, com as palavras exatas do vídeo:
| Estrutura | No vídeo |
|---|---|
| Frases condicionais if + oração, will/would + verbo — uma condição e seu resultado | if we did, we will find · if you watch a movie, you will notice · If these are equal, the image will feel |
| “Used to” used to + verbo — um hábito ou estado do passado que não é mais verdade | used to have · used to look · used to see |
| Voz passiva be + particípio passado — o foco está no que acontece, não em quem faz | is unbalanced · is balanced · is duplicated |
| Orações relativas who / which + oração — informação extra sobre uma pessoa ou coisa | person who is · ones who did · someone who is |
Pronúncia para ficar de olho
O falante usa 107 contrações e formas reduzidas, como you're, don't, we're. Diga-as na forma curta, do jeito que você ouve.
- Os sons de “sh” e “zh”: intentional /ɪnˈtɛnʃənəl/, distraction /dɪsˈtɹæk.ʃən/, fisherman /ˈfɪʃ.ɚ.mən/, rickshaw /ˈɹɪkˌʃɔː/, sharpen /ˈʃɑɹpən/
- Palavras longas — acerte a sílaba tônica: intentional /ɪnˈtɛnʃənəl/, tonality /toʊnˈæl.ɪ.ti/, symmetrical /səˈmɛtrək(ə)l/, portfolio /pɔːtˈfəʊ.liˌəʊ/, asymmetrical /ˌeɪsɪˈmɛtɹɪk(ə)l/
Sons difíceis para falantes de português:
- Consoante final — sem acrescentar um “i” depois: distract /dɪˈstɹækt/, crop /kɹɑp/, tilt /tɪlt/, disconnect /dɪskəˈnɛkt/, fixate /ˈfɪkseɪt/
- /l/ final — a língua toca o céu da boca, não vira “u”: intentional /ɪnˈtɛnʃənəl/, camel /ˈkæm(ə)l/, symmetrical /səˈmɛtrək(ə)l/, asymmetrical /ˌeɪsɪˈmɛtɹɪk(ə)l/, skillful /ˈskɪl.fəl/
- /h/ — um sopro suave, diferente do “r”: horizontal /ˌhoɹəˈzɑn.təl/, horizon /həˈɹaɪ.zən/, harmony /ˈhɑ̟ɹ.mə.ni/
Como praticar com este vídeo
- Ouça o vídeo inteiro uma vez sem falar e anote as palavras que você não conhece.
- Comece na velocidade 0,75×, faça shadowing frase por frase e volte à velocidade normal quando ficar fácil.
- Grave a sua voz e compare com o original, prestando atenção a palavras como intentional, aperture, viewer.
O que é a Técnica de Shadowing?
Shadowing é uma técnica de aprendizado de idiomas com base científica, originalmente desenvolvida para o treinamento de intérpretes profissionais. O método é simples, mas poderoso: você ouve áudio em inglês nativo e repete imediatamente em voz alta — como uma sombra seguindo o falante com 1-2 segundos de atraso. Pesquisas mostram melhora significativa na precisão da pronúncia, entonação, ritmo, sons conectados, compreensão auditiva e fluência na fala.