The contrast between photography and art

That only shows that he has not understood the language and skills of photography. There is no way. The expression angles and methods of art are different, so we can't generalize. On the artistry of photographic works

-And discuss with the photographer.

As far as the basic elements of photographic works are concerned, a good work must meet the following requirements in terms of artistry, in addition to clear ideological content:

First, the composition should be artistic.

First, we should correctly handle the reasonable layout of foreground, subject and background in three-dimensional space. In the limited landscape framework, he is good at using painting language, and properly handles the reasonable layout of foreground, subject and background in three-dimensional space on the premise of highlighting the subject, so as to make them harmoniously echo, organically combine and complement each other. Among them, the subject is always emphasized, and the foreground and background serve the subject. They are good at using the light and shade, reality, distance and color changes of the three to express the trend, dynamics and emotions of the subject. Foreground and background are the accompaniment and embellishment of the subject, which are determined according to the needs of the subject. There can be only subject and background, or only foreground and subject, or only subject. There is a basic principle in the choice of photographic composition, which is often called "subtraction rule". All the companions that are dispensable to the subject are removed without regrets, and the position, clarity, color and brightness of the companions cannot be usurped by the owner.

Second, be good at using scenery lines and colors to guide the audience's line of sight. The end point of line of sight extension should be the subject to be expressed. If the end point of extension is not on the subject, it will inevitably distract attention from the subject. The brightness and color of the subject should also be stronger than that of the companion, otherwise the companion will be too leaky.

Third, pay attention to the golden ratio. Nowadays, cameras are usually equipped with a TIC-tac-toe framing auxiliary frame, which actually uses the golden ratio principle. The rational layout of the subject should be at the four intersections of four straight lines, at least one of which coincides. Except for buildings that need to show stability, the center of the subject is generally not enough for people to take pictures.

Fourth, leave space for the dynamic front area of the subject. When shooting the profile of a figure or a moving body, there should be room for movement in front of the face of the figure or moving body, otherwise the figure and moving body will give people a feeling of hitting a wall, which is not conducive to dynamic performance.

Fifth, pay attention to the beauty of the picture. Trees grow on people's heads, telephone poles pop up, people are framed in dark doorframes, the picture is divided into two by clear vertical lines or horizontal lines, and buildings are seriously tilted from the horizon, which will give people a very uncomfortable feeling. Once these problems occur, they should be regarded as scrapped.

Second, the focus is reasonable.

Why do you say "the emphasis is empty and reasonable"? Is virtual also reasonable? Don't worry, readers, listen to the next paragraph. Beginners in photography focus on basic skills. Generally speaking, it is difficult to become a good work if the subject is not focused. However, it is not necessarily right to simply say that a truly focused work is a good work. The key depends on the performance needs of the subject. For example, I remember a classic photo of a girl wearing a red poncho in the rain outside the window. The author focuses on the window glass covered with water droplets, and the girl in the distance loses focus and becomes a virtual shadow, but it is this virtual reality that exaggerates the mist effect of rain. Imagine that if people walking in the rain are very clear, the effect of rain and fog will inevitably be diluted. Therefore, according to the performance needs, determine where is the focus and where is empty. It should not be true, it should not be empty, or even empty everywhere, and it is definitely not a good work.

What's the point? The general theme should be true (re-emphasize the general) and the key parts should be true! The focus of people and animals is on the eyes, the focus of architecture is in the middle, the focus of five rows of photos is on the face of the person in the middle of the second row, and there are countless others. Bottom line: Be in the key part of your theme.

Readers, don't be angry with people who criticize the out-of-focus situation of your movie characters just because I said "the focus is reasonable", because most online movies are "normal" and "two images", after all, there are very few, so please forgive me for wronged you!

Third, there is a brightness.

Just as the focus is reasonable, the exposure is still bright and dark. A photo with accurate exposure is a good photo, but it is not necessarily an excellent work. High-profile films are artificially overexposed, which makes the white clothes and background of the characters disappear, strengthens the hair and face, and creates a holy and elegant artistic conception; Low-key films are deliberately underexposed, so that the clothes and backgrounds of the characters are submerged in black, highlighting the highlights of the face and creating a deep, quiet and elegant atmosphere. The overexposure and underexposure here are just a stroke of genius, and it is unfair to judge a work only by the accuracy of exposure.

But is there no standard to judge the exposure of a work? The answer is no, under normal circumstances, the exposure should be accurate. If the exposure is seriously overexposed or underexposed, the necessary shadows and details are completely gone. What should we show the audience? In real life, people are always used to seeing with their own eyes, and photographic works should also adapt to people's visual habits. Whether it is film or digital camera, its tolerance is far less than that of human eyes for scenery. Therefore, we should be more careful about exposure and try to make the light and dark details of photos close to what people see in their lives. Otherwise, don't blame the audience for being picky Of course, I actively advocate and encourage photographers who have crossed the "photography" stage to explore boldly, pursue their own photography style, flexibly grasp the contrast between light and dark, and create excellent works.