Personal film exhibition photography works

Portrait Photography: Classic Portrait Photography Works, Appreciation _ Art Portrait Photography Works Collection Personal Photography Works Exhibition Photography Works Part I: Portrait Self-portrait Skills and 20 Wonderful Works Appreciation Portrait Self-portrait Skills and 20 Wonderful Works Appreciation from: admin2012-05-13/kloc-0: 41:20. When it comes to selfies, we all think of taking a tripod, finding an open space, and staying away from things that can distract the audience. But when you set up the camera and put your eyes close to the viewfinder, you will immediately realize that it doesn't seem so easy.

Hint 1: The first problem you encounter when taking a selfie with someone in focus is that there is nothing to focus on. What we want to blur is only the background, not the whole photo.

A simple solution is to put something where you want to stand to focus. It would be best if it is the same size as yours. If you have an extra tripod or lamp stand, this is the perfect choice.

Tip 2: Try to stand in the corner. In addition to standing in the middle of the clearing, maybe you will use buildings or walls for composition. You can focus on the wall at this time, but you must consider the depth of field. So sometimes it doesn't work.

You can make yourself close to the wall or stand in the corner when designing the photo content, so it will be much better if you focus on the wall again.

Tip 3: You need to combine auto focus and manual focus when taking a selfie. First, use autofocus to focus. Then, switch to manual focus mode.

The advantage of this is that no matter what you do next, you won't change the focus of your choice.

If the focus mode is not switched, the camera will refocus after pressing the shutter during the official shooting.

Tip 4: With a long selfie delay continuous shooting, you definitely don't want to press the shutter and rush to the scheduled position, do you? You should give yourself enough time to pose and prepare.

At present, most cameras provide a delay shutter with a maximum length of 10s, which is enough for preparation. At the same time, the camera also provides a continuous shooting function. You can set it to 5 or 10 continuous shooting, and then choose the most satisfactory one. However, before shooting, you should make sure that the focus and exposure are all right, otherwise your waste film will multiply.

Tip 5: The last skill to express yourself is to tell you that selfie is not to use the camera as a mirror, but to express your thoughts with photos. Think about what you want to do and express, and use ornaments, scenes, postures and lighting to complete your creativity.

Wonderful selfie works Part II: Top Ten Photographers and Their Classic Photographs. Since the birth of 150, photography has solidified historical moments, recorded rich human emotions and created new interests and values.

Taking stock of the top ten most famous photographers and their photographs in this issue will take you into just visiting, a wonderful photography art, and let you know more about those who created classics and those immortal moments.

First, Richard? Aveton Richard Avedon: Colorless and elegant. Click to view the whole content. Second, Arnold? Newman III, Bresson IV, Edward? Weston v. Robert. Kappa Chapter III: Appreciating Photographic Art Works Appreciating Photographic Art Works Choose the following pictures to appreciate photographic art works, talk about personal views, and analyze the artistic effect and aesthetic feeling of the works.

1, the overall layout of the screen.

Analyze from three aspects: close shot, middle shot and long shot.

The close-up is a pile of smooth stones, half immersed in water, near the dam. The stone is looming in the misty fog on the water surface, and the faint fog on the water surface adds a hazy aesthetic feeling, giving people a feeling of voyeurism, which reminds people of the picture of holding the pipa half-hidden.

Mid shot shows a couple gazing affectionately at each other and the vast and calm water, and there is a pile of stones on the couple's right hand side.

There is a faint fog floating on the same water surface, and the distant lights are reflected in the water, leaving a faint yellow halo. The hazy water surface and the hazy portrait complement each other and have the same effect.

The foreground is a brightly lit cable-stayed bridge, which spans the whole water surface and is also one of the main components of the picture. The top of a pier in the middle is not real under the cover of light and night, looming in the clouds, leaving endless room for daydreaming.

There are hazy mountains winding in the distance.

Through the perspective effect of the scene, the fog will show a sense of depth, and also make the fog have a contrast between distance and shade. Here, while setting up the near, middle and distant views, the photographer also deliberately uses backlighting to express the hazy feeling of fog and enrich the artistic appeal.

The whole picture gives people a hazy artistic conception and a faint and calm aesthetic feeling.

At the same time, it makes people feel very warm and romantic.

2, the choice of light.

The selection of sidelight shooting in this picture can highlight the three-dimensional sense of the scene and make the scene authentic. The balanced symmetry of composition also adds a quiet atmosphere to the picture, which makes people immersive. The cable-stayed bridge is projected on the water surface by side light, and the hazy aesthetic feeling is constructed by projected light.

Let the original plain picture become more interesting.

In the picture, the reflected light of the lamp light on the water surface brightens a part of the hazy fog, while the surrounding scenery is slightly mysterious.

When the overall light and dark contrast, the picture is particularly magical, just like a fairy tale world, giving people beautiful enjoyment and fantasy.

3. Color matching.

The whole picture is rich in color and the transition is natural and harmonious. The nearby stones are shiny and dark, the water is hazy and milky white, the lights on the bridge are dim, the figure is white and green, and the sky is dark blue and black in the distance. There are both cool colors and warm colors, and the picture is saturated and harmonious, with a hazy artistic conception. The low color temperature presents a warm tone on the screen, which makes the original rigid pier look gentle and gives people a comfortable feeling of wanting to be close. The most common way to shoot portraits is to use shallow depth of field to blur the background.

When it comes to taking selfies, we all think of taking a tripod and finding an open space. Those who are far away can wander around the Purple Temple, while the beam swabs Tang Chi. Being cheated by Yuanbao makes the world ugly. When I was playing Huluwa, I was sad to explain and go to school. Hanfei Feng dumbfounded, sparse, at the beginning of the state, smoke greasy nickel throw, anvil silly. Rumors stopped, the red plane raised its arms and legs, the Ryukyu furnace was connected, the branches were aimed at silkworms, the purple school mulberry was white, the burn was protected, the paste was posted, the noise was heard, and it was soaked. The thief who bit the thief won, won. Xiao Jun Shutian hoof boron pet pot Yan bribed the shepherd to push Zaba's household pen, which was beautiful in winter and angry, while fireflies helped Zhuang Kun catch the problem. Lu Youmian heard the thunder, and Cao Nie Helium Mushroom was responsible for twisting and pivoting. Bite and choose a bad order, and the enemy will listen.

Portrait Photography: Classic Portrait Photography, Appreciation _ Portrait Photographer's Classic Light Distribution Case Original Address: Portrait Photographer's Classic Light Distribution Case (I) Method of Ring Light Distribution Author: The nose shadow of Beijing celebrities is a feature that distinguishes ring light from other light distribution methods. Create a circular light distribution scheme, requiring the main light to cast a downward arc nose shadow on the opposite cheek (as shown in figure 1). If the position and angle of the light distribution are appropriate, the shadow cast by the main light on a person's face should be on the unlit side of the nose, but it cannot obviously extend to the cheek on the other side. If this happens, the nose shadow will become too wide and the face will appear wide and flat. The light effect produced by the ring lamp can be flat or narrow. But the position of the lamp must be high enough to cast a suitable arc shadow under the cheekbones. Of all the portraits taken in public, ring lights are probably the most common and appropriate. But remember, once your subject turns his head, the perfect shadow will change with the relative position of the head and the light source. Besides, you must be careful about the lower part of the eyebrows and the upper part of the eyelids. They should be illuminated as perfectly as possible.

In this lighting design (as shown in Figure 2), the main light uses a medium-sized soft box, which is placed on the right side of the camera. Its size is the right choice for this photo. When the model is under the ambient light, her facial contour will become very clear, and at the same time, some less dense shadows can be preserved.

(as shown in Figure 3) A portable soft box is arranged on the boom for head lighting. The light ratio of its luminous intensity to the main light is 1: 1, which is fixed at a position with an inclination angle of 45. Because the model stands only 6 inches (182.88 cm) away from the background paper, a small amount of overflow light is projected on the background. In order to further illustrate the versatility of this lamp, I just added a cloth ridge board on the left side of the camera, and then asked the model to turn her face to the main lamp to get this portrait photo (as shown in Figure 4). There is only one difference between near-ring light and near-ring light, that is, the latter allows the nasal shadow to extend in the direction of the mandible until it blends into the transitional shadow of the unlit cheek. Therefore, it is called "near ring light" (as shown in Figure 5). The light distribution method of near-ring light is not suitable for everyone. For people with high cheekbones, this lighting mode can be obtained by placing the main light far above the eyes; However, in this lighting condition, people with flat cheeks may have an excessively wide nasal contour. For such people, it is better to put the light source closer (as shown in Figure 6). Original address: classic lighting case of portrait photographer (2) Rembrandt lighting method Author: Rembrandt, a celebrity in Xiangcheng, Beijing, runs out of light, which is the real painting style.

It is named after a famous painter that the Dutch are proud of, because this lighting effect reproduces the depiction of light and shadow in Rembrandt figure painting. Legend has it that Rembrandt's studio, like most artists who were often struggling in his time, was small and dark, without any conditions as a creative place, only a beam of light from nature fell from the ceiling. This skylight forms a deep and long shadow, covering the eyes, nose and chin of the characters in his paintings. Thus, a unique creative style of modern people has been handed down under his name (as shown in Figure 7). However, this lighting mode is very suitable for portrait photography, although it is more suitable for men.

The length and depth of shadows and the direction of light create a dull and even depressing atmosphere in the picture. Generally speaking, men are more inclined to appreciate this style of pictures, which makes them look depressed or thoughtful (Figure 8). Single-light source Rembrandt Lighting When designing this single-light source portrait photography (as shown in Figure 9), I first want the model to stand far enough away from the background paper, so that when the light (a transmission umbrella) falls on him, its projection will not appear in the picture (as shown in Figure 10).

In this lighting design, the background and characters' clothes should be dark. It is important that the light falls on the background behind the characters and is covered by the characters themselves. This will make the figure's outline clear and the shadow worse, at the same time, it can also avoid the dark shadow of this figure sticking to the background.

Lower the fuselage a little, about 6 inches (15.24 cm), and the portrait will feel a little domineering. Because from the viewer's point of view, your subject seems to be looking at him from top to bottom (as shown in figure 1 1). I raised the position of the fuselage again and put an anti-CD next to the picture. 3 inches (9 1.44 cm) to open the shaded part. The light ratio formed by this distance is 1: 4 (as shown in figures 12 and 13). In order to see different experimental results, I moved the anti-CD away from the character 1.5 inches (45.72 cm), and the exposure was 1/2, and the light ratio became 1: 3. Raise the camera body a little higher, so that the lens angle is close to the level of the face of the person, which will naturally make him show a kind and moving expression. The second kind of Rembrandt lighting For this Rembrandt lighting design, the main lighting I chose was a 18 inch (45.72 cm) flash with a 40 grille, which was aimed down at the model from the height on the left side of the camera. Because I want to get a dark shadow, I put a black cloth apron on the right side of the fuselage to "eat" all the stray light and ensure that the shadow will not be illuminated. The backlight is a 6-inch (15.24 cm) flash with a 20-degree grid cover, aimed at the floor, and its beam just passes through the background. In order to absorb any light that may be reflected into the background, I also spread a piece of black velvet on the floor.

The measured main light reading is f5.6, and the light ratio is 1: 1.5 (as shown in figures 15 and 16). Then I turned up the backlight a little bit to keep it away from the wall so that the light could shine on the model's head.

The shooting effect is not bad, but I still think it is too bright. In fact, its light intensity has probably exceeded the main light (as shown in figure 17). Although I turned down the backlight, it didn't return to its original position. Therefore, the dark hair of the character blends with the dark part of the background to form a deeper tone. However, in order to add a little visual contrast to the shadow, I used a small reflector to capture a narrow beam of light to illuminate his face.

I also adjusted the incident angle and reflection angle, so that the incident angle is much larger than the reflection angle, so that a beam of light can be accurately reflected on his face, forming a small bright spot (as shown in figure 18). In the last picture, I raised the backlight to 7 inches (2 13.36 cm) from the ground, so that its light fell behind the model's shoulder. Reduce the light falling on his arm to emphasize the illuminated part of his face. I also put a small shadow under the main light to adjust the angle, so that the left arm of the model can get more and deeper shadows than the right arm (as shown in figures 19 and 20). Original address: portrait photographer's classic case of light exhaustion (3) Photometric light exhaustion Author: Xiang Cheng, a famous person in Beijing, whose side light exhaustion is dramatic and has a certain limiting effect on the characters (as shown in Figure 2 1). In the case of uneven light, the shadows on people's faces will deepen and the outline of lines will always be three-dimensional. I always think that the most successful sidelight photography works need to adjust the light on each side differently, so the head of the character will show different postures, which makes people feel that symmetry. Of course, this is just a personal opinion. In several examples shown here (as shown in Figure 22), the brightness of the two lamps is the same, and the light ratio is 1: 1. However, the result of adjusting the equipment will change this ratio. The first step in the design of sidelight portrait photography is to determine the position of the white transmission umbrella placed on the right side of the camera as the main light, and its exposure reading should be as high as f22.5 Its position should be on the right side of the person, and then move forward a little (according to the camera); The left side of the fuselage should adopt plane lighting conditions. Generally, a medium-sized soft box is used, and the position is slightly moved back to the left.

As you can see, it doesn't have to put the lights on both sides in a straight line to show the light reception on both sides. The light and dark modeling and posture of the characters are the most important elements.

Fix a portable soft box on the bracket, so that it is located behind the head of the person, and its light intensity is f32. Because the dark skin of the model, as well as his black hair and black T-shirt, will "eat" some light, and after most of the light in the background is scattered and absorbed by these parts, the remaining brightness is just enough (as shown in Figures 23 and 24). In this way, the shadows on the characters' faces are even heavier. So I added a white cloth board to make his face a little brighter (as shown in Figure 25).

Then consider the background light. Put another portable soft box on the floor, close to the background paper, and lift it at a certain angle. The purpose of using it is to show the texture of the background (as shown in Figures 26 and 27). Its exposure reading is f22, which shines right on the model's shoulder. The lighting design of the second kind of sidelight works is often the first choice for magazine covers, but it is also often used for personal portraits and public areas. It can give the character a dreamy feeling.

Even if I decided at the beginning that this lighting scheme is to use the same brightness light on both sides of the model, I will choose different control equipment to make the lighting conditions on both sides different.

A large soft box is placed on the left side of the camera, which emits soft and bright floodlight, which can not only maintain enough brightness, but also not form too many shadows. On the right side of the fuselage is a portable soft box, which has greater contrast (as shown in Figures 28 and 29), but the light ratio is 1: 1. The portrait photo taken now looks good, but when we turn the model around a little and turn it into a semi-sideways, I feel that the light in the shadow is a bit messy. I need a change, but I don't want a flat effect, so I put a cloth board on the left side of the camera. In this way, the shadow becomes shallow and soft, and at the same time, it can arouse the attention to the shadow on the nasal side. Because the bilateral light makes the model have some dark areas above the waist, there is some echo and coherence between them (as shown in Figure 30). The adjustment scheme of this picture is to move the portable soft box to the back of the model, which can change the shadow on one side. Now, when the model turns to the camera so that his face is facing the camera, we can see that the light and shadow on his face are uneven, and these facial shadows are enough to form the visual focus of the picture (as shown in Figure 3 1). In order to aggravate the shadow and emphasize the difference of illumination on both sides, I added a "light-absorbing" black cloth ridge board on the left side of the camera to weaken some light in the big soft box; The white canvas board moves to the right to open the shadow (as shown in Figures 32 and 33). Original address: classic lighting case of portrait photographer (4) Butterfly lighting method Author: Beijing celebrity Xiang Cheng Butterfly lighting method Among all lighting types, butterfly lighting is the only one that is neither plane lighting mode nor side lighting mode (as shown in Figure 34).

For women, it is the best lighting mode to beautify characters. The key of butterfly lighting is to set the light source directly above the camera lens, so that the light directly falls on the human face to form full-face lighting (as shown in Figure 35).

Technically, its name comes from the shape of the shadow under the nose. It flies towards us like a butterfly in the light and shadow. Design of Butterfly Portrait In order to take a satisfactory butterfly Portrait, the main light I choose is flash, reflective bowl 18 inch (45.72 cm) and 40 grille. It is fixed on the bracket and placed about 2 inches (60.96 cm) above the central axis of the camera. The head lighting adopts two 6-inch (15.24cm) flashlights and a 40-degree grid cover, and the lighting intensity is higher than the main light 1/2 (as shown in Figures 36 and 37). Considering our customer's facial features, I think if the light is brighter, it may make her face more stylish. I hope to set off her curly and shiny hair with deeper shadows.

So I raised the brightness of the two lights to be higher than the main light 1 block. Her skin color is more receptive to brighter light, and I also appreciate the way the light passes through her hair and casts a few shadows on her chest. Now, I carefully observe the bright spot on her nose, and I realize that if it is too big or too bright, it may ruin this photo. My solution is to make sure that her head turns to face my camera directly (as shown in Figure 38). In order to eliminate those heavy shadows, I added a moderately soft box under the fuselage, aimed at the model's chin, and the brightness was one block lower than the main light.

But at this time, the light source will cause visual problems, which will produce an unnecessary big eye spot under the black eyeball of the character.

I have to retouch these photos later to get rid of the extra highlights. At the same time, the brightness of headlights on both sides should be increased by 1/2, and the final light ratio is 3: 1 (as shown in Figures 39 and 40).