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Hot 4 has been read 98 times 2009- 10-25 15:48 Tags: photographer's age characteristics, children guide communication.

Learn photography skills

1。 Cooperation and communication between photographers and tour guides;

A, first of all, talk about the work arrangement and responsible matters of the studio staff. As the leader of the studio, the photographer should be responsible for: a, actively communicate with parents before shooting to understand the child's preferences and personality; B, the idea before shooting; Arrangement of other staff in the studio, including guidance and assistants.

B, guidance in the studio is also very important. The child's joy, anger, sadness and joy are all in her hands, which is another key to making a good movie; As for the specific work of guidance, I will talk about it here, that is, assisting photographers to capture pictures and mobilizing children's emotions in the process of shooting. If the photographer wants to laugh, you should make him laugh. If you want to concentrate, you must attract his attention and try to guide the child's eyes in place. Guidance techniques will be explained in the next section.

C. assistants are also important in the studio. Only when the assistant cooperates with the photographer can the whole shooting process get twice the result with half the effort. The assistant must be familiar with the props, background and lighting of the studio. The assistant's specific work includes: putting the background, props and lighting in place according to the photographer's intention before shooting, and preparing the background and props for the next suit. Put the props and background back in place after the previous set is filmed.

Note: After communicating with parents, photographers must communicate with guides and assistants, so that the whole shooting process can be well coordinated.

2. How can we capture the age characteristics of children?

Children within one or ten weeks

People attach great importance to children's full moon, so photo studios often take pictures of such young children. At this stage, children only have simple actions such as sleeping, eating and crying, and their physiological cycle is very short. It won't be long before they can take pictures of their different expression changes. Crying, yawning, sleeping, these little tricks are all cherished by parents. The significance of this stage is more important than the picture.

B,/kloc-children from 0/00 days to 6 months old

Many children who have just turned 100 days can lie on their heads, but the time to maintain this state is limited because of limited arm strength or big head. Speed is the key to grasp the shooting opportunity in this state. More children of this age still take pictures in a comfortable sitting position. To avoid scaring the baby, don't use loud toys at first. It is best to make all kinds of sounds with your mouth, or "talk" to it in a fluctuating tone. In addition, the corner of the mouth is the baby's nerve sensitive area, and you can get a smiling expression with soft objects and light corners of the mouth.

The 3-month-old baby is very active, often including the habits of fingers, arms and feet. Leave space for composition and keep the picture intact.

C.6-9 Babies aged 6-9 months

At this time, children are highly alert. They can support their heads for a long time when they are prone, and they can sit for a short time, but they need a soft and safe environment. When lying flat, you can pull your feet to your mouth and be interested in noisy sounds, such as alarm clocks and music. At this stage, the children are very friendly and the shooting difficulty is relatively low. It is easier to shoot at this stage within one year old.

D, 9 months to 1 year-old children

Four children in this period like to play hide-and-seek, throw things for others to pick up, imitate others and tear paper. Four children don't like wearing shoes, changing clothes and dressing up, and they don't like being seen. Therefore, we should use more body language when guiding, such as making faces and playing games with our fingers. You can also throw a toy to him and throw another one when you get it. When you throw the third one to him, he may throw one back. Once there is interaction, the shooting mood will be easily mobilized.

E, children from one and a half to two years old

A one-and-a-half-year-old child can already walk, and the speed is very fast. When shooting, you can use the method of preset focus, that is, after setting the fixed object, put the baby in focus and press the shutter when it is in place.

Two years old is the first period of children's resistance. Although their language ability is still not strong, rebellious language such as "hate" and "don't" has been on the lips. At the age of two, I began to feel a variety of feelings, but my expressiveness was poor. Two-year-old children are at the turning point of "infancy" and "infancy", and the inconsistency of language and emotion is a major feature of children of this age. The most important thing to analyze when shooting is not to be led by the nose by the child, nor to completely guide him, but to give him a certain choice space, and the effect will be better.

Two-year-old children like to wear adult shoes and play with adult things, such as telephones, dishes and so on. And their behavior is mainly based on body language imitation. It is often not difficult to shoot, but there will always be some failures after the film comes out.

F, children of three or four years old

Rebellious psychology is very heavy, either afraid of strangers, or feel comfortable, start to express themselves, like to hear praise, like to be respected. When guiding, you should lower your mind, don't give orders, and avoid exerting too much pressure. Three-year-old children already know the language, can understand the words of adults, can tell jokes, and even use gestures to express the language. Four-year-olds won't be fooled easily any more. And usually not very cooperative, always against each other, like to show themselves.

Male photographers have an advantage in photographing boys at this stage, because they worship "Big Brother". Girls will giggle and be shy. Talking to them more and praising them more is the key to success. Try to arrange less deliberate actions and keep random snapshots.

Children aged six to ten

He began to feel grown up. He often feels embarrassed and speaks as seriously as an adult. Talk to them according to their preferences and find a common language. Most girls pay attention to appearance and like beautiful clothes. At present, male photographers are still dominated by boys. Boys' pockets are always full of sundries. If your pockets are bulging, you can take out what they are interested in, and they will have a good impression on you. The male chauvinism of boys is very obvious at this stage.

First, the layout and adjustment of lighting

Here are three general lighting methods. I hope the students can draw inferences from one another.

Whether the knowledge of light consumption is reasonably used in portrait photography directly affects the image-building and personality expression of the subject. However, for commercial portrait creation, the primary task of light processing is mainly to depict and express the appearance and photography of the subject, while trying to avoid exposing its shortcomings. Generally speaking, it is more difficult to shoot portraits in the light than in the sun. On the one hand, the root

On the one hand, the photographer's appearance (mainly the five senses) adopts the most favorable lighting scheme, on the other hand, it reflects the photographer's own aesthetic orientation and creative intention, and there should be no fixed scheme. After our analysis, research and discussion, we summarized the following lighting methods commonly used for lighting portrait shooting:

A. lighting effect of front side lamp

A- 1。 Using a lamp (with or without accessories such as soft box and soft umbrella) as the main plastic light-called "main light"-irradiates the subject from the camera side at a position about 30-60 degrees from the shooting direction, forming a "front lighting effect", which is characterized in that most areas of the subject (especially the face) are directly affected. If only one lamp is used for lighting, the color of the shadow surface of the object will appear too deep and heavy, which will not only promote the necessary details, but also make the shadow color poor. Therefore, a second lamp or reflector is needed for auxiliary lighting to improve the brightness of the shadow part and keep an appropriate brightness ratio (commonly known as "light ratio") with the bright surface. This light is called "auxiliary light".

A-2。 The intensity of the auxiliary light determines the light ratio and is inversely proportional to the light ratio. The weaker the auxiliary light, the greater the light ratio. As for whether it is necessary to add a background light, it depends on the specific situation. When the main lights and auxiliary lights are arranged at that time, if the background color meets the requirements, there is no need to add another background light. If you need to adjust the tone of the background, you can add a background light to adjust it until you reach the ideal state.

A-3。 Using front lighting, the main light usually needs to be slightly higher than the head of the subject, but it should not be too high to avoid the eye socket, nose shadow and chin projection of the subject being too heavy. However, when the subject wears a hat or other headwear to shoot, the main light basically moves with the subject's face to adjust the ratio of the bright surface and the shadow surface of the subject, so that the "light-dark dividing line" between the bright surface and the shadow surface of the subject is in an appropriate position. It is very important to remember this!

A-4。 If the reflector is used as auxiliary lighting, it can be placed on the shadow side of the subject. However, if lighting is used as auxiliary lighting, it should be placed as close as possible to the camera. Some people like to put auxiliary lighting on the photographer's shadow side, but it is not as good as auxiliary lighting from the camera direction, because the latter is easier to eliminate the "dead angle" that is not illuminated, and it is also convenient to make the light spot reflected on the photographer's black eyeball fall in the right position. The auxiliary light should not be too high. When the light spot formed on the subject's black eyeball can fall on the upper edge of the pupil, its height is the ideal height.

A-5。 When the subject's face turns slightly to one side, the faces on both sides of the nose must be narrower and wider from the shooting direction. If the main light is projected from a narrower side, it is called "narrow light illumination", and if the main light is projected from a wider side, it is called "wide light illumination". Wide-angle lighting can easily reveal the nose shape of the subject and emphasize the aesthetic feeling of the nose shape, but it is not suitable for people with too high or too low nasal bones. Too fat cheeks and protruding jaws (on the side of the face below the ears) are also not suitable for wide-light lighting.

a6。 When shooting a portrait with front light, the nose and chin will protrude a little because the main light is slightly higher than the head of the subject. For a full-length portrait, there is no need to adjust its projection, because it occupies too small an area in the whole portrait to be easily detected. If you shoot busts and close-up portraits, you can put a white foam plastic plate in front of the subject or on your knees and use its soft reflection to dilute the projection of your neck. According to years of experience, it is better to use foam plastic board than to put a small soft box on the ground.

B. Smooth lighting effect

B- 1。 The main light is projected on the subject from the camera direction, forming a "smooth lighting effects", which is characterized by uniform light reception, bright color tone and no obvious shadow and projection. Under forward illumination, the stereoscopic impression of the subject's face is not formed by the amount of light received, but by the curve of the face itself-the convex part is bright and the back part is slightly dark. Therefore, the face should not be overexposed, otherwise it will affect the portrayal of the whole image.

B-2。 Shun lighting can be accomplished by two lamps or one lamp: two lamps, usually two flashlights with the same power and soft boxes, project light to the subject at the same distance from the positions near the left and right sides of the camera, slightly higher than the height of the camera, and the two soft boxes should not be too high to avoid too deep shadows under the neck and nose; A lamp is slightly higher than the camera and is thrown at the subject from the back. If the shadows on both sides of the face are too deep, you can dilute them with a reflector (preferably a white foam plastic plate).

B-3。 The advantage of forward lighting is that the shadows are clean and few, which is suitable for shooting young people with symmetrical faces. However, if the subject's face is wide or the two sides are obviously asymmetrical, it is easy to expose its defects by forward lighting, so it is advisable to use front side light and side light to make the shadow cover the part with too wide face.

C. Side lighting effect

C- 1。 The main light is projected on the camera lens from the subject side in the direction of about 90, forming a "side lighting effect". In this case, after floating dust, the car was washed and lined up for one kilometer-Ou Pai Li Jie, which has a strong three-dimensional effect, because half of the subjects directly received light to produce bright shadows, and the other half did not directly receive light to produce shadows. In sidelight, because of the large shadow area of the subject, you can quickly master the basic shooting method of Canon camera-hit it off, so you often need auxiliary lighting. Generally speaking, in order to make the facial tone of the subject clean, the "light ratio" of business portraits should not be too large.

C2。 When sidelight is used, the main light and auxiliary light should not be too high, otherwise the light above the face will be uneven. The auxiliary light is also as close to the camera as possible.

C3 explosive. When shooting people with fat faces and asymmetrical faces, you can use side light to cover the fat cheeks, which is beneficial to make the appearance of the subject more perfect.

C4 explosive. People with straight nose and beautiful nose bones are suitable for sidelight, while those with too high or too low nose are not suitable for sidelight, because sidelight will reveal the height of nose shape more obviously.

The above describes the three lighting methods commonly used in portrait lighting and matters needing attention, but it does not mean that there are only three. Other lighting methods, such as side lighting and backlight lighting, can be adopted according to the photographer's specific characteristics and creative intention, so as to achieve the effect of side lighting. But the lighting methods commonly used in portrait photography are the above three.

First, the adjustment of camera white balance

In the process of digital camera shooting, many novices will find that the light of fluorescent lamp is white to people, but it is a little green when photographed with digital camera. Similarly, if it is under an incandescent lamp, the color of the image will be obviously red. The human eye can see that it is white because it has been corrected. It would be nice if the color of the image taken by the camera is exactly the same as that seen by the human eye. However, because the CCD sensor itself does not have this function, it is necessary to correct the output signal, which is called white balance.

Therefore, white balance control is to make the color of photos taken under various light conditions completely consistent with the color of the scenery seen by human eyes through image adjustment.

Simply put, white balance is a function that defines "white" as "white" regardless of the ambient light. Color is essentially an explanation of light. What looks white under normal light is not necessarily white under dark light, and "white" under fluorescent light is also "non-white". To learn more about white balance, we must know the color temperature.

"Daytime" mode: Because the office is a fluorescent light source, the photo is a little red.

Color temperature is an important part of photography, but many photographers simply don't know its true meaning. In the eyes of ordinary readers, color and temperature are two different things, but in the field of photography, the light source is always defined according to its color temperature. The unit of color temperature is Kelvin. Like Fahrenheit and Celsius, Kelvin is a unit of temperature measurement. The relationship between color and Kelvin temperature originates from a blackbody radiator (heating it until it emits light), and the color presented at different temperatures is the color temperature. When this black object starts to glow when it is heated, it will turn dark red. Learn to wash cars? Oupai Lijie mobile car wash, if it continues to be heated, will become very exciting, all in the grass screen, then white, and finally blue. This color temperature phenomenon is very common in daily life, and I believe everyone is familiar with it. The color temperature of cloudless blue sky in Wan Li is about 10000 K, that of cloudy days is about 7000 ~ 9000k, that of sunny days is about 6000 K, that of fluorescent lamps is about 4500 K, that of tungsten lamps is about 2600 K, that of sunrise or sunset is about 2000 K and that of candlelight is about 1000 K.

Color temperature is a white balance problem of digital cameras, and it is also a headache for many photographers. Under different lighting conditions, the color of the target will change. In this respect, the change of white objects is the most obvious: under indoor tungsten filament lighting, white objects will show the wonder of orange, and the scenery photographed under such lighting conditions will show pale yellow; But if it is under the blue sky, there will be blue tones. The scenery taken under such lighting conditions will be blue. In order to minimize the influence of external light on the target color and restore the original color of the target under different color temperature conditions, digital cameras are needed to correct the color to achieve the correct color balance, which is called white balance adjustment.

"Tungsten lamp" mode: A large amount of blue compensation is carried out, resulting in a blue picture.

Nowadays, digital cameras have white balance sensors, which are usually located under the lens. The white balance mechanism will try to turn white into pure white. If the brightest part is the highlight of the screen, the blue color will be enhanced to reduce the highlight of the screen, thus obtaining a more natural color. Digital cameras can correctly restore other colors of white objects under the same lighting conditions as long as they correctly restore the white objects when shooting them.

At present, there are generally 4 ~ 5 modes for white balance adjustment of digital cameras, which are slightly different due to different manufacturers, but there is little difference. Canon's digital cameras are generally divided into automatic, daytime, cloudy, incandescent, fluorescent and other modes. In daytime mode, the white balance function of the digital camera will enhance the beauty of the image. When shooting outdoors on sunny days, you can set the white balance function in daytime mode. If shooting indoors, it should be set according to the indoor light source. Generally, there are tungsten lamp and fluorescent lamps. In fluorescent light mode, white objects will appear blue. In tungsten lamp mode, the white balance function of the digital camera will enhance the blue color of the image. If the white balance is set to daytime mode by mistake, the picture color will become too yellow.

Fluorescent lamp mode: white balance is more accurate.

The photo is greatly influenced by the light of the shooting place. White balance is the function of adjusting this point. When the color is unnatural in automatic mode, you can get better results by choosing "daytime", "tungsten lamp" and "fluorescent lamp" according to the light of the shooting place. If you need more realistic colors, you can set them manually.

In addition to automatic and manual white balance, some advanced digital cameras also provide "white balance surround" function. Generally speaking, this function is to use different white balance modes to take three photos at a time, one is normal, one is blue, and the other is red, which is convenient for users to compare and choose, making shooting more flexible.

Using automatic mode, the sky turns blue.

Indoor and outdoor mode is only for sunny days, outdoor and indoor lighting with about 60W tungsten filament bulbs. These two typical white balance adjustments under light tone conditions can not represent all white balance adjustments in indoor and outdoor environments, and have no universal significance. Therefore, in some special color temperature environments, it is still necessary to manually adjust the white balance.

For example, when shooting a red sunset, you can shoot a picture full of warm atmosphere by manually adjusting the white balance with blue as the reference. If the white balance of the digital camera is set to the automatic position, the digital camera will misjudge the warm color temperature of the sunset as indoor, thus compensating the blue color of the picture and reducing the red color, completely destroying the original warm atmosphere of the sunset. On the contrary, by manually adjusting the white balance with the red reference, you can take a picture with a cool blue tone.

If the white balance is set to "cloudy" mode, the sunset glow will turn red.

Manual white balance adjustment mode is required under light conditions beyond the automatic white balance adjustment range. Before manual adjustment, you need to find a white reference object, such as pure white paper-something like that. Some digital cameras are equipped with a custom white balance function, so you can adjust the white balance as long as you face a blank sheet of paper. The operation process is roughly as follows: 1. Adjust the zoom lens of the digital camera to the widest angle (short focal length position); 2. Place the white paper; 3. Adjust the white balance to the manual position; 4. Aim the camera at the clear sky, be careful not to face the sun directly, and zoom in until the whole screen turns white; 5. Press the white balance adjustment button until the manual white balance sign in the viewfinder stops flashing, and then the manual white balance adjustment is completed.

Some special effects can be obtained by adjusting the white balance manually, and some color cast effects can be obtained by adjusting the color temperature.

Generally speaking, the white balance function of digital cameras can meet the needs of most situations. Readers should keep practicing in the process of shooting creation, deepen their understanding of white balance adjustment according to their camera characteristics and shooting environment, and make full use of the advantages of digital cameras to take satisfactory photos. Even if the white balance effect is not satisfactory, don't worry, computer post-processing can also relieve these worries for you.