For example, the beauty of landscape images is shown as follows

As "Garden Poetry" said: There is a path to bend in the door, and the path turns to a small screen; There are steps in the screen to be flat, the flowers on the edge of the steps should be fresh, and the wall outside the flowers should be low; There are pine trees behind the wall, strange stones at the bottom, graceful stones on the stone surface, sparse bamboos behind the pavilion, bamboo secluded rooms, road bridges, dangerous road bridges, tall trees beside the bridges, green trees under the shade, small canals, hanging springs and deep springs on the grass, and houses at the foot of the mountain. The prefix "door, diameter, screen ..." is a common landscape in the poem, while the second word "inside, turning, advancing ..." is the spatial layout relationship between the two landscapes, and the ending word "Qu, Xiao, Ping ..." shows various landscape forms and expresses a certain artistic conception through modeling. From the moment I entered the door, I introduced people into vivid, elegant and changeable scenery. Through the relationship between scenery, characters and their layout, I applied many rules of formal beauty to make the whole garden unfold like a large-scale movement, with ups and downs. The application examples of its formal beauty law are: contrast method, such as the contrast between "short bridge" and "high tree", one is high and one is low, one is vertical and one is flat, and the composition is perfect; The contrast between "flower" and "garden pavilion" makes the fresh more fresh, simple and simpler, which sets each other off and has a strong visual effect. The law of balance, such as "the bridge is in danger when the road is closed", shows the feeling of "danger" when you stand on the low-pressure water and face the flying bridge after the road is closed. The deduced law, such as "multi-winding paths beside the room", shows that there are many winding paths beside the quiet room, which are gradually separated and have achieved varied effects in a narrow space. Harmony law, such as the harmonious unity and variation law of materials and colors of "stone" and "pavilion", such as leakage, crepe and thinness. In the form of "strange stone". Grouping rules, such as "flowers" and "grass" flourish. The whole chapter has a strong sense of rhythm and rhythm, and beautiful landscapes emerge. Even if it is a group of scenery, the foreground, scenic spots, main scenery and background have ups and downs.

Simple forms can convey an artistic conception. It's easier said than done in reality. We are faced with various, colorful and varied natural scenery. We should try our best to discover the laws of beauty and show them by photography.

Simple expression is the most common and difficult expression in artistic creation. High concentration and refining are its outstanding characteristics.

With a simple sense of composition, what to keep and what to subtract, and how to choose in the face of the world is really a big problem, which can be clearly told to everyone, and it is also an unanswered question. Because each photographer has a different understanding of nature, nature also has its own criteria for judging and choosing scenery. However, the scope of the camera lens is limited, and framing a part of the infinite nature into the viewfinder is actually a high concentration of nature.

Although there is no uniform standard for concentration and refining, there are still some rules to follow, such as: to preserve the landscape with the same tone, use multiple lines in the same direction, simplify the main body of the picture as much as possible, and leave necessary space. These are all ways to help us simplify the picture.

Picture balance of landscape photography

Stability and balance are issues that cannot be ignored in all video arts. Stability means that the scenery in the picture does not feel skewed, and equilibrium means that the left and right sides of the picture seem to have no difference in weight.

The balance in landscape photography is not the symmetry of the scenery in the picture, nor the average distribution of the scenery in the picture. This balance refers to the balance of visual weight, which is a changing balance. If we see a landscape photo with unbalanced feeling, it must be that the scenery is not properly arranged, or the proportion of light and shade is not properly configured, or the color is not properly configured. The reason for these phenomena is that we have not mastered the law of equilibrium. The premise of visual balance is the balance of visual weight, and the rules of visual weight balance are: the big one is heavier than the small one, the near one is heavier than the far one, the dark one is heavier than the bright one, the moving one is heavier than the static one, the clear one is heavier than the fuzzy one, and the thick one is heavier than the light one. In a word, equalization is not an average arrangement of scenes in a picture, nor is it an equivalent repetition.

There can be one more side, one less side or one more side in the picture, but the visual right is almost equal. Attention to equilibrium is not absolute equilibrium, it is not bad at all, which will lead to stability, mediocrity and rigidity. Only when there is balance in imbalance and stability in instability can we meet the requirements of landscape photography composition.

Echo between scenes in landscape photography

Echo means that there should be response and correlation between scenes, no matter how far or near, no matter how left or right.

In landscape photography, scenes can be unrelated, but they can't be unrelated. This invisible connection is echo.

Echo can be static or dynamic. The distant mountains in the background of Kobanawa in the foreground echo each other, and the birds in the air also echo the trees on the ground.

The purpose of connection and echo is to make the scenery in the picture have a complete sense of unity. This echo relationship can be the echo of subject and companion, and it can also be the echo of subject and subject, companion and companion. No matter what kind of relationship echoes, there must be some connection between them. In landscape photography composition, it is very important to master and deal with the echo relationship between scenes for the stability and integrity of composition.

Using lines in nature

Lines play such an important role in our visual feelings and thinking activities that it is difficult for people to accept the fact that lines do not exist in nature at all. It is not surprising to draw such a conclusion, because in real life and natural environment, people turn a blind eye to horizontal, vertical, diagonal and curved objects, and these objects all have edge boundaries. Abstracting these edge boundaries will produce all kinds of lines. For example, the horizon is a horizontal straight line, the arranged forest is a vertical straight line, and the winding river is a curve ... These visualized lines are very helpful for photographic composition. They not only beautify the picture, but also become the visual center of the frame and picture in composition. Lines with endless forms will also give people symbolic associations. Long-term accumulated experience tells us that specific cadres are often associated with certain things or phenomena, and these objects themselves are associated with certain characteristics of shapes and lines, thus forming a traditional concept that taking the position and direction of lines as symbols can make people have certain associations.

The vertical line represents life, dignity, eternity and the ability to resist change.

Horizontal lines tend to indicate quietness, stability and smoothness.

Slant lines represent movement, danger, collapse and uncontrollable emotions.

The rounded and curved lines symbolize the smoothness and movement like the sea, indicating perfection, elegance and harmony.

The combination of vertical lines and horizontal lines indicates connection, unity and integrity.

Landscape photography pays attention to formal beauty, so it pays special attention to the design and application of lines. Photographers should not only consider the psychological feelings brought by lines to the audience, but also learn to discover and refine them. Some lines that contribute to photographic composition are often contained in complex scenes, and photographers can only find and extract them through careful and keen observation.

The rhythm of landscape photography

Facing the complicated landscape of everything, our minds are always thinking about how to sort out the harmonious factors from chaos. This is to seek order from disorder, and the so-called order is also order. The natural scenery itself does not provide appropriate harmonious materials, so it is impossible to establish effective contrast. So photographers should be good at observing, find some graphics with common characteristics in the chaos, and organize them in an appropriate way. They may be similar in size, shape, direction, tone or texture. In short, the sense of harmony is formed through similarity. Just as a music listener predicts the beat, a viewer who appreciates a photographic work can find a common perception in a set of similar images and predict its reappearance. After reasonable arrangement, rhythmic exercise can guide the audience's eyes to move along the picture, satisfy their visual feelings and seize their attention. As photographers, we are inevitably influenced by rhythmic natural forces. The alternation of day and night, the cycle of the four seasons, the beating of the waves and the beating of the heart all have their own rhythms, which also enable us to achieve harmony. Because rhythm has certain ups and downs, it becomes an ideal means to stimulate and express emotions. Besides its practical emotional function, it is also the most influential factor in the art field of expressing emotions. Rhythm can stimulate the imagination of the rich. Compared with other composition principles, rhythm can cause more visual pleasure. It has strong vitality and is the simplest theme of documentary. As long as a certain rhythm is found and reproduced, photos can leave a deep impression on people.

Dense landscape photography There is a saying in China's paintings that "riding a horse is sparse and airtight". This refers to the layout of the picture, and it is also one of the ways to use simplicity and complexity in composition to achieve artistic realm. Landscape photography should choose the scenery, simplify and simplify, and make the picture dense. Jane doesn't want simple scenery, but removes unnecessary and redundant scenery; Complexity is not all-encompassing, without order and regularity, but to arrange the scenery in the picture in a hierarchical and varied way, so as to be complex and not chaotic. Simple and complex applications complement each other, and it is not good to ignore either side. The combination and interdependence of the two is interesting.

Interesting center of landscape photography

If there is no obvious overwhelming interest center in a photo, the audience will be confused and subconsciously ask: What do you want me to see? What is there to see here? Therefore, the audience needs to understand the photos as soon as possible and see the key points immediately. The center of interest is also the main body of the picture. The subject is not necessarily a person, a place or a thing, but a shape, a line, a local texture of an object, or several interrelated scenes. Many beginners don't try to determine the interesting center when shooting landscapes, but take photos at will, which makes many meaningful landscapes ignored, so that the photos taken lack intrinsic interest and it is difficult to form a dominant position. In addition, there are no eye-catching shapes and lines to make up for this defect. As a result, the audience can't find anything worth seeing in the photos except browsing. As the main body of the center of interest, it must be clear at a glance on the viewfinder and frosted glass focusing screen. When we find a subject and feel very excited, we tend to focus on the scene and ignore the distracting factors that can destroy the attraction of the subject. There are many ways to eliminate interference, the most common one is to avoid "everything", specifically, to learn to "give up who I am". If a scene needs to be emphasized to make it dominant, then everything else in the picture should be excluded or reduced to a secondary position. It is very important to choose an interesting center for landscape photography, whether it is telephoto or close shot. Get into a habit: think and try to set up a theme and create your works around it. Just as there is thought before language, the center of interest must be determined before taking pictures. Language without thought is empty, and photos without interest center can only be a random pile of meaningless scenery. After choosing the main body of the interest center, what methods can be used to strengthen it and make it truly occupy an advantageous position? You can turn to three factors-layout, size and contrast. These three factors occasionally work independently, but often work together.

The role of shadow

Where there is light, there is shadow. The biggest shadow is at night, and half of the area is covered by the other half. As far as photography is concerned, we deal with local shadows, such as a cloud blocking a large area of land and grassland. Shadows play a big role. You can block something and highlight something. When the light shines on the scene, the brightness of the scene will increase. There are many solutions to make the scene the visual center of the picture, one of which is to make the bright visual center object in the dark background. In order to make the single-color landscape more prominent, we should use thick shadows as a foil. Where there are shadows, there will be contrast, and using light contrast is the basic point of shooting scenery. Shadows play different roles in different positions of the picture. Shadows play a prominent role in the upper part of the picture or occupy most of it. Because a large area of the background is in the shadow, the objects under the light are more prominent. Shadows appear evenly in the light-receiving part of the picture, which increases the level of the picture and enriches the visual language. If shadows appear at the bottom of the picture, it will stabilize the composition of the whole picture.