Want to know a basic information about learning photography. Which teacher can give me some information? The more detailed, the better. Oh, here it is. Thank you.

Nine ways to get started in digital photography

The first step in digital photography is to be clear.

What is clarity? Is this an absolute concept? Because we have different needs, we have different clear concepts. There are three concepts here, namely focusing accuracy, depth of field selection and jitter. Focusing accuracy, there is nothing to say about the current dc AF, unless the subject you want to shoot is not in the focus range of the camera, or the scene is extremely dark, AF can still guarantee the quality. Unless you have higher requirements, such as getting hyperfocal distance. These are advanced technologies and should be discussed in Wuji instead of here.

Second, the depth of field. Speaking of depth of field, we need to give another concept: diffusion circle, noun explanation: diffusion circle: diffusion circle. Before and after focusing, the light can't converge to one point, and the image of the point becomes a fuzzy enlarged circular spot. The outer circle of this spot is called the diffusion circle. Obviously, when the size of the dispersion circle is small enough, the human eye will think it is an indistinguishable point. At this time, we will feel a distance before and after the focal segment, and all the images are very clear. This produces a "depth of field". The concept of dispersion circle in depth of field is called allowable dispersion circle, which changes with the change of human observation resolution, and the depth of field changes with the acceptability of dispersion circle.

Finally, jitter.

Tell a story, 15 years ago, I first studied photography in an interest group in high school. My teacher was a returned overseas Chinese in Indonesia. At that time, I was not interested in listening to the teacher's theory class at all. With a good family, I only waste film. After filming for a while, there is a photo contest in the Children's Palace (my age is miserable, and this opportunity is already a rare opportunity to show myself). Black-and-white films are required to be enlarged to more than 8 inches before entering the competition. Under the teacher's magnifying glass, the focus and jitter in my film were mercilessly magnified to the point of depressing me! Only then do we know how important the "rules and regulations" the teacher said are.

For a steady camera, I can do it now: at the focal length of 50mm relative to 135, when I hold steady 1/4 seconds, I may not see jitter on the LCD, and when I hold steady1125 seconds, I can't see jitter when I zoom in to 7 inches, and zoom in to A3. The correct hand holding method is to level the viewfinder with the camera's eyes. At this point, your left hand holds the camera's left elbow tightly and supports it at the rib to form a 3-angle, while your right hand holds the handle tightly and supports your right elbow tightly at the rib, which is also a 3-angle. At the same time, the two arms naturally form 3 angles. People with some knowledge of physics should have felt its stability. Hand movement: thumb control multi-function dial, index finger gently placed on the shutter to breathe evenly, just like pulling the bolt to achieve "intentional aiming, unintentional firing". At this time, the master has reached the realm of man-machine integration, and every ten steps will kill him! Of course, it is absolutely impossible not to shake. Even if you use Gitzo, it will at least vibrate at its natural frequency, depending on your requirements.

Ha ha, digression, the best anti-shake is to use a specially set flash, which is a knowledge. At present, the flash can easily reach more than11000 seconds from lighting to extinguishing, and it is not uncommon for many advanced flashes (advanced players here are relative to novices) to reach11w seconds, and there is no mechanical vibration.

Introduction to Digital Photography (2) Accurate Exposure

The definition of exposure, if scientifically explained, is: the intensity of light multiplied by the time of light action. The "light intensity" in the definition refers to the intensity of light illuminating CCD, that is, illuminance (I stands for illuminance, in lux). The "exposure time" in the definition refers to the exposure time (t stands for exposure time, in seconds) when the photosensitive film is irradiated by Love rays. Exposure is measured in lux seconds. Take e as the exposure, and the exposure formula is as follows:

E (exposure) = I (illuminance) ×T (exposure time)

According to this formula, if you want to get a certain exposure, the greater the light intensity, the shorter the exposure time; The smaller the light intensity, the longer the exposure time. If the light intensity is doubled, the exposure time needs to be reduced by half. If the light intensity is 2, the time is 4 and the exposure is 8; If the light intensity is 4 and the time is 2, the exposure is still 8.

Fuji S2Pro shooting, first measure the water surface, manually adjust to this value, and the exposure will have a silhouette effect.

Equal exposure

We clearly understand such a simple truth: a larger aperture allows more light to pass through the lens to reach the film than a smaller aperture, and a lower shutter speed allows light to stay on the CCD for a longer time than a higher shutter speed. It can evolve into the following situation: the combination of aperture f/ 1.8 and shutter speed 1/500 seconds, and the combination of aperture f/4 and shutter speed1100 seconds, the exposure effect is the same. They are also consistent with the exposure effect obtained by the middle aperture f/8 combined with the medium shutter speed of 1/25 seconds. This is the so-called "equal exposure".

The exposure of the above three groups of exposure combinations is equal, the density reflected on the negative film is consistent, and the tone level and tone reproduction reflected on the CCD are consistent. However, there are two important differences in the picture effect: first, the size of the aperture forms different depth of field; Second, the definition of moving images is different because of the shutter speed.

From the principle of equal exposure, we know that equal exposure with different exposure combinations can obtain the same negative density exposure effect. However, in photography practice, we should choose the best exposure combination among several exposure combinations that can produce the same density according to the difference between the subject and the subject to express the shooting theme. This is the concept of selective exposure.

Post a pp that I am satisfied with in exposure control recently. It's an indoor and outdoor flash. First measure the flash, then measure the reflector, and constantly adjust the distance and angle of the reflector to make the light ratio difference 2.5 pieces. The background behind it is deliberately illuminated in the upper left corner to create a virtual shadow to balance the picture.

Those experienced photographers know from the theory and practical experience of photography that although each group of shutters and apertures can produce the same exposure effect, the depth of field and the definition of moving objects in the picture are quite different. Careful consideration must be given to which exposure combination to adopt. Is it possible to get a farther and clearer scene range with a smaller aperture? Or use a higher shutter speed to capture the "frozen image" of the disturbed object? Or use a very short depth of field to blur the background and highlight the subject? Or use a slower shutter speed to enhance the motion of the moving body? Wait a minute. All this requires the photographer's brain to think and choose, which is by no means solved by those "automatic cameras" because "automatic cameras" have no thinking ability. People with image thinking ability can easily operate the camera to complete their own ideas, which may be the difference between the "automatic exposure" of the camera and the active "selective exposure" of people.

What is accurate exposure? In short, the meaning of correct exposure should be: let CCD receive the right amount of light at the right time.

Speaking of exposure, I have to talk about Adams' regional exposure first. One of the greatest contributions of American photographer A. Adams, the master of landscape photography, to photography is to create the concept of "regional exposure". Anyway, I don't fully understand it myself. The theory in it is enough to write a book. But now my shooting is based on this part of understanding.

Why can you see the changeable image geometry? Friends who have learned sketch will understand it easily. The picture is nothing more than a continuous transition from white highlights to saturated medium gray and then to all-black dark parts. This transition enables us to distinguish the outline of an object.

The most traditional shooting technique is still the most effective in the digital field. When you see a picture, what do you want to show, that is to say, you want it to reflect the most saturated colors and the richest details. Just aim at it and test it, and then expose it according to the test value, and the resulting film will generally not let you down. Of course, if you want other parts to show a little detail, you must use reflectors and absorbers to control these places within the tolerance of your CCD, or change the angle and other light changes to reduce the light ratio. On the other hand, if you want to make a certain part appear pure black and white, and make these parts deviate from exposure value by more than five grades, you can see what you want to see. Understand the importance of point measurement and manual operation to the camera.

Of course, the actual shooting is not that simple. Especially documentaries. You have to limit the light, and at the same time, the light is also limiting you. Unless there are living things in the room, perfect light is hard to appear. But opportunities are often fleeting. At this time, experience becomes very important. Peripheral exposure is an effective means. But it is not omnipotent, at least peripheral photometry cannot change the objective light ratio. In Bresson's words, "You have to keep changing the angle". Changing the angle is not only to change the composition, but also to improve the restriction of light on you. There are too many things that can be used, such as the reflection of water, white walls, etc., including many unforeseeable situations, such as thin clouds can soften sunlight.

I can't write any more here, but the level is too shallow. Many things can only be understood but not expressed, and it is still very important to think for yourself. As the old saying goes, the key is your brain behind the camera.

The golden section of the third introduction to digital photography

The word COMPOSITION is a transliteration of English composition, which is a term of plastic arts. "Composition" in Ci Hai refers to the arrangement and treatment of the relationship and position between people and things in a certain space by artists in order to express the theme and aesthetic effect of their works, and to form individual or partial images into an artistic whole. In China traditional painting, it is called "composition" or "layout".

First of all, let's talk about the distribution and modeling in composition. I have to mention two nouns here: Jiugongge and Fun Center.

Let's talk about the famous golden section first, and then talk about Jiugongge.

Since the ancient Greeks discovered the golden section, this proportion has been regarded as the best proportion of aesthetics and has been widely used.

In fact, the golden section is a division rule in plastic arts. Also known as the golden ratio, referred to as the golden ratio. Its division is to divide a straight line into two parts, so that the square of one part is equal to the product of another part and the whole, or the ratio of one part to the whole is equal to the ratio of the other part to this part. That is, the straight line segment AB is divided by point C, so that (AC) 2 = CB× AB, or AC: AB = CB: AC.

Practice has proved that its ratio is about 1.6 18: 1 or 1: 0.6 18, which is called the golden ratio. The golden ratio was first discovered by the ancient Greeks. Until the19th century, it was considered by Europeans as the most beautiful and harmonious ratio. The golden ratio is widely used in plastic arts and has aesthetic value, especially in the aspect ratio design of arts and crafts and industrial design (such as book layout), so it is called the golden section. In the mid-20th century, French architect le corbusier discovered that the golden ratio has the nature of series. Combining with the human body size, he put forward the gold standard ruler scheme and used it as a measure of the beauty of modern architecture. France has also produced a group of cubist painters, called the golden section painting school, which pays attention to the proportion of forms.

In fact, the golden ratio is only an approximation. The simplest method is to get 2:3, 3: 8, 13, 2 1 ...

The ratio of 5,5: 8,8:13, 13: 2 1 is approximate. This segmentation method is also used in optimization methods.

Let's talk about Jiugongge again. The origin of Jiugongge is a composition pattern invented by China people, but coincidentally, it has an amazing theoretical connection with the golden section! Everyone divides the top, bottom, left and right of the picture into four lines. We are surprised to find that this is what the ancients in our country called Jiugongge!

It is found that the four points where the four lines of Jiugongge meet are the most sensitive places for human vision. In foreign photography theory, these four points are called "interesting centers". As the name implies, it has been repeatedly proved that when the subject is at or near these four points, it is easiest to get the "eyeball":

Four Symmetrical Balanced Echoes of Introduction to Digital Photography

Talking about symmetry, balance and echo

In China traditional painting, the composition structure is called "composition" or "layout", and "composition of paper comes first". Position management is like Go, you can play a game of chess, don't be confused. Ordinary paper can also lose ink, remember not to express it with a pen at will. Chess has its way, painting has its reason, and losing is like losing chess. The ancients compared composition to playing chess. When photography becomes like this, there must be a certain composition and layout. Hegel said in Aesthetics that "an artist should not carve a sculpture completely first, and then consider where to put it, but should relate to a certain external world and its spatial form and part when conceiving".

1, horizontal position, so that the taken image will not be skewed. You can use buildings, telephone poles and other objects parallel or vertical to the ground as reference objects, and try to keep the picture balanced when taking pictures.

2, good color balance, the picture should have a strong sense of hierarchy, to ensure that the main body can stand out from all backgrounds. Such as complementary color balance (below), the so-called red flowers and green leaves match this truth. With the same color balance, people wearing black clothes generally don't arrange to shoot on a dark background.

3. Foreground can balance the picture. Sometimes, when we find that the vacancy on the picture is unbalanced, such as when the sky in Wan Li is cloudless and monotonous, we put drooping branches and leaves on it to make up for the lack of the picture; Sometimes the bottom of the picture can't be pressed. When the top is heavy and the bottom is light, you can use rocks and railings as the foreground, and the dark color makes the picture feel depressed, achieving a stable and balanced effect. The foreground adopts the expression of virtual focus, which gives people a feeling of hazy beauty.

4. Blank. It is the link between objects on the communication screen and the relationship between them. Blank plays the same role in the picture as punctuation plays in the article, which can help the author express his feelings.

Leaving a certain blank on the screen is the need to highlight the main body. To have visual impact, it is necessary to leave a certain gap around. This can be said to be a law of plastic arts. People need space to appreciate things. Exquisite works of art, if placed in a pile of messy objects, it is difficult to appreciate its beauty. Only when there is a certain space around, will it release its artistic light. If a picture is full of entities, it will give people a feeling of depression, and the blank space in the picture will leave people with room for manoeuvre. "If the painting is empty for three minutes, anger will follow." That's the truth.

In real life, all stable objects have a balanced form: the four legs of the table are stable; Building a house with a small bottom and a big top gives people a feeling of instability; Carrying a heavy burden makes it inconvenient to walk; Obviously, people's posture in labor is to achieve physical balance to adapt to the characteristics of this kind of labor. Many life phenomena cultivate people's psychology of demanding balance and play a role in people's aesthetic process. Generally speaking, the picture should be balanced and stable, which makes people feel stable, harmonious and complete. Using people's psychological factors for balance, we can emphasize the expressive force of the picture from several aspects:

A, symmetrical composition, symmetry has always been emphasized by our nation, and it has always been a palace. The capitals are all symmetrically arranged. It emphasizes a solemn atmosphere, and a simple and solemn relationship is displayed in a "stable" symmetrical balance.

B, the virtual and the real echo the layout, just like Jiangnan gardens. In some lyrical landscape pictures that emphasize elegance, quietness and softness, it is required that there can be sparse and dense, virtual and real in the changing balance picture, but overall balance is required. In an idyllic scene, such as a cow in the lower left corner and a cloud in the sky in the upper right corner, it would be better.

Contrast and contrast are also commonly used balance techniques. I remember a famous painting of a white fat man holding the hand of a hungry child in Africa (I can't find this pair of pp online, I can only let everyone imagine), which shocked everyone's heart. The effect of size contrast, in order to fully express the content of pp and make the audience have a clear impression on the main image, often needs to be expressed by the contrast of big and small, long and short.

Five lines and triangles for the introduction of digital photography

People often use a kind of "directional line cluster" in composition, which often receives the effect of "radiant". In most cases, the audience's eyes are directed to the main body, and its complete effect forms an atmosphere radiating outward from the main body along a straight line. This is a simple way to realize the visualization effect. Another basic skill of photographic composition is to use "internal lines" that can bring the audience into the picture. Although there are many complicated forms of lead-in, C-shaped, S-shaped and diagonal lines with perspective are the easiest to identify and succeed.

"C-shaped line is also an effective lead-in, but when shooting, we should pay attention to the perspective line not to enter from any bottom corner bow. Generally speaking, the inner lead should not start from any angle, but from a measuring point slightly deviated from the center of the bottom edge. "

As for the S-shaped line, some people call it "body line". This is a beautiful composition line first proposed by Huo Jiasi. Because it comes from the graceful figure of women: a slightly elongated "S" shape. As a common composition line, it can really impress people.

The charm of s-shaped lines

When composing with lines, we should pay attention to the straight lines in the picture, especially the straight lines parallel to the picture, which cannot extend from one side of the picture to the other without interruption. Otherwise, it is easy to have the following situation: the original intention is to take only one photo, and the result seems to be that two unrelated negatives are printed on one photo paper. This problem is most likely to occur when shooting natural scenery, such as the horizon in the middle and the sky and ground occupying half of the picture. If you still correct this problem? In the book Photographic Composition, co-authored by American photographers B. clements and D. Rosen and Field, it is pointed out that as long as the continuity of this straight line is interrupted, the graphics of one part of the picture extend to another part of the picture, and the overall sense of the photo is firmly established.

Diagonal composition is a highly oriented picture. Using this composition is often the author's hope to draw the reader's attention to something obvious, or to show the charm of the line itself, because as we all know, the longest line in a rectangular picture is diagonal. Another common situation is that when two interesting centers are not obvious but need some connection, the author also needs a form to connect them. Look at the picture, it is a business card that reflects the grandeur of the bridge. The flashing bridge spans two corners and seems to be out of the picture.

The blank mentioned in the previous article is often geometry, and the simplest and most expressive non-triangle and regular triangle in geometry often express a stable emotion, which is often used in architecture, adult men, successful people and other occasions. If there are older people here, you may remember that there is a picture in the textbook depicting Wang Jinxi, a model worker in Daqing, and the composition of Li Zheng Triangle is used to show the fortitude and strength of the subject.

Unstable triangle composition can enliven the picture, which is often used in changeable women. The picture below is an example. Of course, this composition can also be used to render unstable and irritable emotions, but I haven't found a suitable picture to demonstrate.

Everyone knows that composers and pianos are almost two in one, two in one. It should be said that it is more appropriate to arrange the protagonist in the piano room. The key is the size of the area occupied by characters on the screen. Newman's treatment contains some artistic dialectical relations. We know that some objects occupy a large area in the picture, which may or may not be the main body of the picture, and some may be the main body although they look small, depending on how the author handles the theme connotation and construction factors of the work. Generally speaking, living, guiding, moving and changing are always more important and prominent, and the opposite is never as important as the former. In terms of artistic expression, although the body is large, if it only belongs to the foil object, it can play the role of guiding the line of sight and highlighting the main body. So big looks big, but in fact it looks small in the eyes of the viewer, and the small surface looks small, but it actually feels great in the eyes of the viewer. This is how Newman understands and deals with the relationship between people and things in this work. Why does the author only take the top half of the piano and not the half, and put the characters in the corner instead of the center? "We believe that this is due to the following considerations: first, the piano face, the piano cover and the piano column have general significance, which is enough to explain the occupation and identity of the protagonist; On the other hand, from an artistic point of view, in order to form a picture by using the law of formal beauty, the triangular composition composed of characters, piano cover, pillars and piano surface can attract people's attention, guide people's visual movement, and form a relationship between two triangular compositions centered on characters, from characters to pillars and then to piano cover, thus not only highlighting the theme, but also providing space-time conditions for readers to have extensive contact and aftertaste. This is a clever artistic treatment that conforms to the audience's appreciation psychology. "

Six famous sayings of introduction to digital photography

Famous artists say composition.

Some people may have a gift for composing music. However, according to American photographer Willy Quick, almost everyone can achieve a considerable level of photographic composition by applying some basic rules. To this end, he proposed some simple methods. He believes that according to these methods, anyone can learn to take better photos in a short time.

Willy Quick pointed out that the most common mistake made by photographers is that the shooting point is too high and too far away from the subject, which leads to all kinds of things irrelevant to the shooting purpose.

He said, "Remember, the painter puts things into the painting, and the photographer removes things from the painting." He said: "A photo should have only one interesting center, and there should be no useless things on the picture. If you have doubts about whether an object contributes to the picture, you should give it up as much as possible. " This is what people often say that photography is "the art of subtraction"

Quick believes: "This does not mean that the center of interest must be accurately placed at the intersection. Because of this, in fact, interesting centers often appear near intersections. "

Quick pointed out: "Every photo should keep a certain balance. That is to say, the arrangement of the main subject can't make the picture and surface appear to fall to the heavy side. But balance doesn't mean putting two things of the same size and shape in symmetrical positions. The relationship here is as long as you look at the children playing on the seesaw. The children on both sides of the seesaw must sit far from the middle, and the older must sit near the middle. "

Quick thinks: "Arranging prominent lines and pointing to the interesting center is another factor to take pleasant photos." These lines are called dominant lines and can be effectively used to create amazing photos. Arranging the main lines diagonally will produce a strong sense of movement.

"Lines usually provide a boundary in photos. This can be done by selecting a viewpoint, for example, by framing the subject on the screen through branches under a tree. A small aperture is usually used to make the whole photo clear. Doing so may also make the border too prominent, but if arranged properly, you will get good photos.

"In the photo, the position of the horizon will give a strong impression. When shooting, try to avoid the horizon on the outline of the photo, because doing so will split the photo in two and give people a dull feeling.

The horizon at the bottom of the picture will give people a sense of tranquility, while at the top it will give people a lively and powerful feeling. In addition, banner images can produce a sense of peace and tranquility, while vertical images can produce dynamic effects.

Quick believes that if the above methods are used well, your photos will be obviously improved, and with the passage of time, you will soon learn to appreciate composition, thus adding fun to your photography. It can be thought that sometimes "if lines and vision produce a kind of * * * sound, a string of lines itself can become a theme". American photographer L. Jacobsis Jr believes: "Composition begins with the eyes in the photographer's heart. The process of composition, also called' foresight', is to form an image or impression in your mind before or at the same time as shooting an object. By constantly analyzing the composition of your own and others' works, you will make your foresight skills more proficient and become an instinct. "This is what I often say to take pictures with my brain.

Ernest Haas, an Austrian photographer, feels the same way. For composition, he has reached the realm of no sword in his hand and a sword in his heart. He believes that "composition lies in balance, and everyone handles balance differently." Just like when Wushu reaches the highest level, there is no name for moves, and it can only be solved by one's own ability. He believes: "The more you can forget your equipment, the more you can concentrate on your subject matter and composition. At this time, the camera is just a continuation of your eyes, and there is no other meaning. " Jacobs Jr also thinks: "The most basic factors of composition are lines, forms, textures and the space between these factors. Of course, color is also a factor that cannot be ignored. Convergence lines can generally explain the perspective relationship, but not all photos should show the depth of perspective. Many excellent works are flat patterns. Portraits of scenes or people in the viewfinder are arranged according to the photographer's personal feelings. It is said that all the control in photography is to serve the emotions you want to express.

"In most cases, one or a group of shapes or forms play a leading role in each photo, and the shapes such as color, volume and position in the photo serve as the leading factors. ..... Contrast in composition refers to the contrast between big and small, bright and dark, near and far, active and passive, smooth and rough, rich and light colors and so on. We should make more use of these opposing factors so that the subject can influence the whole composition through them. For example, if the law of contrast is properly applied, photos will have a strong charm. "

Word limit, not finished. I'll give you the address:/xxyd/116.htm.

Wish you success!