Video course of light skills for SLR photography

1, use eye-catching foreground.

A, use the foreground to express the height of the object

Photographers often encounter some highly o

Video course of light skills for SLR photography

1, use eye-catching foreground.

A, use the foreground to express the height of the object

Photographers often encounter some highly obvious scenery materials when shooting landscape photography. Such as tall buildings, tall stone tablets, cliffs, towering rocks and so on. At this time, photographers often want to show this tall scene through their own lenses. However, if the photographer only shows the subject alone, the picture will be slightly monotonous or the height of the subject will not be clearly displayed.

At this time, the photographer can observe whether there are available reference objects around the subject as the foreground, such as trees and other objects with a certain height. Because the subject itself is relatively tall, it is generally necessary to shoot upward and express it in the vertical form of the camera. This can not only show the height of the subject, but also make the overall picture not monotonous. In addition, photographers usually need to use a wide-angle lens when shooting tall objects, because the wide-angle lens has a large range of light in height and width, which is conducive to better representing the subject.

B, use foreground to express the sense of spatial depth

Foreground is often used for landscape photography of large scenes. In particular, it shows scenes with a sense of space such as vast grasslands and vast seas. Although the scenery of the big scene is attractive, it is not easy to show it. Because the bigger the scene, the more elements are absorbed into the picture, and it is more difficult for beginners to grasp the expression of the overall feeling.

Some beginners, after shooting the distant and vast scenery, find that the effect of the picture is often very dull and lacks three-dimensional sense. At this time, the photographer needs to consider some objects, such as sand, low plants and so on. As a prospect. The use of foreground can let viewers see the details of the landscape and inject more meaning into the vast scenery displayed in the middle scene and the distant plane. Most importantly, by juxtaposing the far and near elements of the scene, it not only increases the depth of the photo, but also gives the whole picture a three-dimensional sense.

When representing such a scene, the photographer also needs to use a wide-angle lens to shoot. In addition, a larger depth of field can be obtained by choosing a smaller aperture, so that the foreground and distant components can be clearly reproduced. When using foreground to express the sense of spatial depth, photographers should pay attention to the fact that the foreground does not occupy too much area in the whole picture, otherwise it will affect the overall feeling of the photo, because the medium-term perspective and the spatial depth of the picture are the key points.

2. Use reflection to increase attraction.

I. Choice of time and place

In landscape photography, reflection can increase the attraction of the picture and bring visual pleasure. Because the reflection of the scene can extend or repeat some patterns of the landscape, it can expand the expressive force and scope of the landscape image. In addition, the reflection itself can also add a sense of tranquility to the scenery.

The best time to capture reflections is around sunrise and sunset. And the most dramatic reflection often appears on the water, like a mirror. Such as small puddles, ponds, puddles, stagnant water formed by retreating rivers, small lakes, etc. Before shooting, the photographer should observe the location of the scene, or look for multiple locations with different shooting angles, so as to capture different reflections in a short time.

B, the use of light

For the shooting of reflective photos, the ideal light is the front light, with clear outline and rich layers. Followed by smooth, clear water, sky blue and rich colors. In general, the top light and backlight are not suitable. Because the top light is strongly reflected on the water surface, and the backlight easily makes the contrast between the subject and the background too large, which causes the subject image of the photo to be blurred. Therefore, when taking reflection photos, the photographer can choose the angle with his back to the sun or make the camera at 45&; The oblique angle of deg.

Because the reflection is in the water, the water surface absorbs some light, which makes the brightness of the reflection lower than the real scene. Generally, the exposure of reflection is about one stop away from the real scene on the ground, and the photographer can set the exposure compensation to+1 to +2 when shooting. When exposure value is determined by photometry, under normal circumstances, the photographer should measure the light according to the brightness of the subject on the ground to determine the exposure value. A practical method is to aim the lens at the real scene, then press the shutter half-way, write down the exposure value of the real scene, or open the AE exposure lock key on the camera, and press and hold this key to lock the currently measured exposure data, so the photographer can still expose according to the just measured data when moving the lens to change the composition. In this way, the color of the reflection will be darker than the real scene, forming a beautiful image.

C, the correct composition

Photographers should also pay attention to composition when shooting reflections, especially the division of the horizon. Generally speaking, if the photographer wants to show a sense of harmony and symmetry in the picture, he can consider putting the horizon in the middle of the picture. In this way, the reflection in the water will perfectly echo the actual scenery.

3. The performance of silhouette effect

From the effect, silhouette photography mainly highlights the outline of the subject and simplifies the details, thus making the focus more prominent. Silhouette photography often emphasizes the background effect while highlighting the main outline, such as using the red sky before sunset to set off the outline of buildings, trees and other objects.

In fact, it is not difficult to take photos with silhouette effect. The key point is reasonable metering and exposure. The photographer only needs to change the metering mode to spot metering or central focus metering, and after metering the brighter part of the picture, press the exposure lock key or record the exposure value at this time, and then use the manual exposure mode of the camera to adjust the value to the value just recorded, and then re-compose and shoot. At this point, the photographer will get the black outline of the object because of the underexposure of the picture.

4, the use of shadows

In the process of photography, light and shadow coexist. However, in photography creation, especially in landscape photography, the role of shadows is often ignored, and even some photographers deliberately avoid shadows when shooting. However, it is still an indispensable part of many excellent photographic works, and photographers can get good picture effects as long as they properly grasp the contrast between light and shade.

The nature of shadow depends on the nature of light. Generally speaking, it is difficult for diffuse light to form strong shadows. If there is an extremely obvious contrast effect between light and shade in the picture, then the light at this time is mostly direct light. For landscape photography, if you shoot in the early morning or evening, you will get a long shadow effect. The stronger the sunshine, the darker the shadow. At this time, if you choose to shoot at a high point, you will get great light and shadow works.

In addition to large-scale shadows, photographers should try their best to choose simple, bright and neat shapes to contrast the brightness of the picture, or choose well-defined object shadows to compose the picture. If possible, the photographer can also design and arrange the light and shade relationship between the subject and the picture.