Take good photos in foggy days.

Before sunrise, the fog was cold without light. The red and blue colors of the sky can be brought into the lens at the same time, creating a mysterious and distant picture. Photo by Aaron

Half an hour after sunrise, the red color disappeared and was replaced by golden light. Under the penetration of the side backlight, golden light permeates the fog. Photo by Aaron

Fog is often one of the most ideal shooting environments for landscape photography, which is largely due to the diffuse reflection effect of light in fog. The scenery shot in foggy days has a strong sense of hierarchy, which brings profound changes to the picture. If there is fog on a sunny day, sunlight can be shaped by dense fog, resulting in a wonderful Dindar phenomenon. Half an hour before sunrise, when the light shines on the dense fog, the whole picture will be soaked in red. Of course, if you encounter a foggy day where you can't see the sun, such as rain fog, air pollution fog that covers the sun, fog that clouds cover the sun, etc., the color and layering will be reduced, but sometimes you can take a special feeling.

Use color to make the foggy picture not dull.

In foggy days, the red light before sunrise spreads and attenuates from a distant position to the left and right, but the fog at this time can't be received, showing a cool color, which can bring the red and blue colors of the sky into the lens at the same time, creating a mysterious and distant picture. Half an hour after sunrise, the red color disappeared and was replaced by golden light. Under the penetration of the side backlight, golden light permeates the fog. This is also a good time to shoot Tindal phenomenon beam.

Finally, when shooting in foggy days without sunshine, the whole picture forms a unified tone due to low light ratio and low contrast. At this time, if you choose the color that jumps out of the tone as the center of the picture, it will form a strong contrast and visual impact. In addition, you can also look for opportunities to climb high in the fog to capture the shape of the fog itself, such as the panoramic view of Wusuo Bridge, or the wonders of the mountains looming in the fog. These big scenes are relatively easy to shoot. As long as people get to this position and pay a little attention to the exposure, they will basically not miss it.

Manual focusing is more reliable.

In the case of heavy fog, the focus is likely to be biased or even misplaced. This is because the automatic focusing and manual auxiliary focusing of the camera itself are realized by finding the contrast of the subject, that is, the lines are clear, the boundary between light and dark is clear, and so on. However, the contrast in foggy days is very low, which may cause the lens to search repeatedly and fail to focus finally. There are usually two ways to deal with this situation:

The first method is to focus manually, put the focus ring at infinity and give a relatively small aperture, such as f/8. According to hyperfocal distance's concept, distant scenery is included in the focus. The advantage of this method is that you don't need to judge, just turn the focus ring to infinity (the symbol on the lens scale? ) solve the problem. So what if the scene is not far away, but we have to check whether it is in focus? At this time, you still need to focus manually. Press the shutter halfway while trying to turn the focus ring to see if the focus in the viewfinder flashes, or enlarge the LCD screen with the help of the camera live view function to check the focus area.

White fog plus exposure and smoke reduction

Because the shooting light ratio in foggy days is small and the parameter setting is relatively simple, you can take a picture first to see the effect. If you feel bad, you can try a new parameter combination. Secondly, the regularity of shooting in foggy days is very strong. Generally speaking, whether in the rising stage of the sun or in the foggy days when the sun is not visible at all, you can choose aperture priority and set a relatively small aperture, such as F8? F 1 1, and let the camera automatically calculate the shutter to complete the exposure. In the environment full of white fog, whether it is matrix or central spot metering, it is necessary to increase exposure compensation to restore the color of white fog. +1EV can make the color display bright, but the disadvantage is that it may lead to local overexposure, which is often the direction of the sun, but the sun overexposure is normal. If shooting in foggy days, in order to highlight the polluted air, you can use normal exposure or even-1EV to make the picture more depressing and dignified.

Overexposure is normal. If shooting in foggy days, in order to highlight the polluted air, you can use normal exposure or even-1EV to make the picture more depressing and dignified.