How to take good scenery photography

Set selection and composition are placed in the vast world and vast grassland. Who is not full of excitement and wants to record some beautiful scenery around him? But the first step to distinguish a good photographer from ordinary tourists is that the photographer knows what to choose. Because you are in nature, the scenery gives you all-round feelings. As a photographic work, the information you convey to the viewer is limited to the framework of the work. Perhaps many humanities works also have off-screen stories, but I am even more opposed to using the photographer's narration or off-screen comments to make the audience "suddenly realize". All the information you convey should be in the work, even in most cases, the name of the work is insignificant, or just a symbol of the work. So as a photographer, you should carefully consider whether you are as excited as what you have photographed, and you can convey it to the audience through this small negative. The most common thing is that everyone is moved by the vastness of nature, but they don't know that this "grandeur" is the most difficult thing to shoot. You feel surrounded by mountains, but only one or two hills can be seen in the photo. Therefore, the first step in learning landscape photography is to know what to do and what not to do. Of course, this is not to say that there is a lack of personal experience, and the information conveyed by landscape pictures must not be as good as being there. On the contrary, after careful screening by photographers, the interference factors outside the picture are abandoned, and then through the processing and exaggeration of photographic techniques, good photographic works even surpass the original natural landscape. So the simplest standard of landscape photography is to see if it makes you feel more beautiful than the original scenery. Photographers can even add a lot of subjective feelings or artistic conception to their own pictures, which is even more rare. After reading a lot of landscape pictures, I feel that there are only two kinds of materials: one is based on the beauty of a single theme, such as a mountain and a water, a flower and a grass. No matter what it is, what touches you is the beauty or strangeness of this subject. Sometimes this kind of photos can't be regarded as pure landscape photography, but only as sketches. At this time, all your attention should be focused on how to express the beauty of this theme. Most of the shots are just this subject, or even a part of it. Don't underestimate that part, sometimes it is a part that moves you. Without careful thinking, taking a full picture will fail. There are many such examples in the classic pictures in my hand, such as the corner of a river and the trunk of an ancient tree. That's all, but it's enough, no more, properly supplemented by environmental background (make sure the subject is eye-catching), and the composition of a good photo is enough. First of all, I want to emphasize that the scenery in this kind of photos should have a hierarchical structure. Foresight, middle shot and close-up must all be your considerations. It is easy for people's vision to focus on one point, but in the picture, it is real everywhere. This is the most common mistake that beginners make-staring at a place when shooting feels so beautiful, and it is not the "beautiful scenery" that is submerged by the surrounding things that develops the photos, but the disharmonious elements appear. Therefore, when shooting, we should consciously observe the picture from near to far, and carefully examine whether each level is arranged with harmonious elements. Whether these elements constitute a unified picture, whether some are meaningless and which should be strengthened. It would be more perfect if there were some rhythmic changes between the far, middle and close shots. Try to cultivate this habit of observing the viewfinder comprehensively, because Feng Guang's films don't need other types of photography, and the perfection of the subject can largely determine the success of a photo, and the scenery film must be perfect everywhere. There are two practical and noteworthy factors. The first is the proportion of heaven and earth. Go and see the "A Trip Here" taken by those tourists and the landscape works taken by the master. The easiest problem to find and correct is the proportion of heaven and earth. The most common mistake a novice makes is to look up at the scenery. Of course, it takes half a day to get out. Ask yourself at this time, do you really need so many days? Or do you really need to pat the ground? I believe it is negative in most cases. Let's not say that the ratio of heaven and earth to 50% makes your exposure very difficult, nor how boring the ratio of one to one is. Even if you think about what attracts you to shoot, it is not difficult to find that the scenery of the sky and the ground is not indispensable. Although we are troubled by the air pollution in the city and admired by the pure blue sky and white clouds in nature, it is actually the most prosaic scenery after a long time, and we will not gain more except sighing. Therefore, we should dare to reduce the proportion of heaven or earth, or even boldly cut them off. If you don't shoot the sky, no one knows that there is a day on the ground. Without patting the ground, no one will doubt whether you are standing in space or where. Only when the two are truly interdependent, they need to take into account each other. In most cases, the ratio of 1: 2 is more vivid. Remember this, landscape photography doesn't have to be everywhere. The second thing to note is that when shooting this multi-agent wide scene, you need a "god", that is, the finishing touch. There are many photos with proper composition, accurate exposure and clear pictures, but they are all missing something. What is missing is this "god". This god is a person, a car, a horse, a piece of grass, or even a virtual shadow, but it must be such an element that the viewer can finally fix his eyes on it. Only in this way can the photos come alive. To be clear, this god is not necessarily a point element. It refers to an element, although in the picture, but different from other elements (such as light and form), which can make the viewer's attention come back here after taking a picture of the overall situation of your work. With all this nonsense, a painting is almost finished. In fact, it is these elements that make up the picture that determine the composition of landscape photography, whether diagonal or parallel. They all emphasize how to arrange these elements. In most cases, composition has no dogmatic rules, but only reflects one's artistic accomplishment. It is good for you to look comfortable. As for whether others look comfortable or not, it depends on your artistic attainments. A very effective and simple criterion for testing composition is whether the picture can be cut again. A perfect composition should be impossible to cut again. Finally, for a scene, try to shoot it from different angles, and each angle has different effects. In the first few issues of Photography World, there was a master who took seven or eight works from different angles on the same landscape (waterfalls, flowers, rocks), which really had their own merits. This kind of shooting can make you never regret it.