Seven Skills of Taking Excellent Scenery Photos

Eye-catching foreground can achieve the following purposes: they can show the size of the scene and let the audience know the information of the relative size of each part of the scene; They can let the audience see the details of the landscape and inject more meaning into the vast scenery displayed in the middle scene and the distant plane (where the details are not obvious); Most importantly, by juxtaposing the far and near components of the scene, the depth of the photo is increased through them, thus creating a three-dimensional sense. You should shoot as close to the subject in the foreground as possible with a wide-angle lens. The ideal way is to choose a small aperture to get the maximum depth of field, so that the foreground and distant components can be clearly reproduced. Foreground components will be more effective if they intersect or protrude upward to the distant scene plane (including the sky). This will make the composition more compact.

2. Use reflection to increase attraction.

Reflection can increase the appeal of the picture and bring visual pleasure: because the reflection of the scene can extend or repeat some patterns of the landscape, they can expand the expressive force and scope of the landscape image. The reflection itself can also add a sense of tranquility to the scenery. The best time to capture the reflection is at sunrise (near sunrise, during sunrise and shortly after sunrise), when the surrounding atmosphere is calm. The second one was shot at sunset. The most striking reflection often appears on the water, like a mirror. Small puddles, such as ponds, puddles, stagnant water and small lakes formed by retreating rivers, may be a good place to shoot ideal reflections. Observe these places before shooting. I usually do this kind of survey at noon, and try to choose two smaller places where I can put down my tripod, so that I can capture two different reflections in the same shooting process. There is no need to find a shooting location that can reflect the whole scenery. Even the continuous still water can fully reflect the scenery and add a very interesting part to the picture. Sometimes I wear high waterproof rubber boots to find the best shooting angle in the water.

3. Choose a scene at right angles to the sun to shoot.

Early morning or evening is the best time to shoot: I seldom take dramatic scenery photos outside sunrise or sunset. In the early morning or evening, light will effectively outline the outline of the earth, make it three-dimensional, and provide exciting sky colors and interesting cloud shapes. Shooting at sunset may confuse you, but it is usually difficult to reproduce the color and texture of the sky or the earth well. If you choose a scene at right angles to the sunset or sunrise, you can provide the best shape for the form of the scene and produce the largest polarized light in the sky. You can use a larger reflector or an auxiliary flash with a soft lens to increase color saturation and reduce the contrast of important components in the foreground. Dramatic scenes are most likely to appear when the sky is semi-cloudy and the clouds are high in the distance. Shoot when the sun is below the horizon. At that time, the afterglow of the sunset shone on the sky, and the clouds showed pink and red tones. This warm pink and red light will form a soft reflection, reflecting the scenery below.

4. Try shooting with a telescope.

Add abstract elements to the picture: with binoculars or long lenses, hills or mountains can be compressed together, thus creating landscape photos with abstract style. 35 mm single-lens reflex camera requires a lens of 100 mm or longer. If you use a medium format camera, you need a lens of 30o-400mm. The landscape photos taken with the telescopic lens with compression function can show unexpected effects, thus showing the relationship between scenes: although the telescopic lens will make the scenery look dull, the gradually blurred layering of distant mountains and hills increases the depth of the picture. The telescope head will produce the impression of compression and expansion at the same time. In order to pursue this most dramatic effect, we might as well let three or more inclined planes intersect diagonally to frame a part of the scenery, so that most of the contour lines will gather together. The telescopic zoom lens can accurately frame it. Fog can actually separate these planes more obviously, so it should be taken in the early morning or evening when fog covers low-lying areas, or when there is a light mist.

5, looking for unexpected objects

Unexpected things in nature can add interest to the picture: when you are ready to shoot, you should also pay attention to unexpected things in nature, which can add extra interest to your composition. For example, when I was looking for a shooting location in Yosemite National Park, I tried to avoid the rain ditch on the roadside, which was covered by some low-hanging dog bushes with flowers. I glanced down. Guess what I saw? I saw the reflection of Mount Pitan in Elca! When shooting the beaches along the Oregon coast, I went to the pre-found shooting location at low tide. After the tide receded, many colorful starfish adhered to the rocks on the beach. These starfish have become the main part of the eye-catching foreground in my photos. Perhaps the sky provides the most unexpected scenery. When I was filming my reflection in the trout pond in Yellowstone National Park, the rising sun dyed a cloud a beautiful rose color. For a few minutes, it formed a reflection in the puddle in front of my tripod. In order to take advantage of these emergencies, you must prepare equipment, arrive early in advance, catch the best light, and have enough film at hand.

6. Carry three "necessary" filters.

Medium density gradient filter: This useful flowing mirror can reduce the overall contrast in the scene, increase the color saturation and enhance the details of the parts illuminated by bright light, or enhance the details of the shadow parts. Some lenses are equipped with high-hardness filter holders, so you can install high-hardness G 1 or G2 gray gradient filters at any time. G series filters can be rotated and inserted into the filter frame from the side to meet your needs.

7. Choose the right movie

Fuji Vivian Film: As a landscape photographer, generally speaking, I don't mind that the film I use can produce natural skin color or allow me to choose the shutter speed that can freeze moving objects, but I usually value that the film can produce saturated colors and reproduce delicate details. Futuville is the preferred film, but the contrast is too large and the exposure latitude is small, so it needs to be carefully exposed. Fuji Virvia film, usually should choose the central key photometry, and then adopt the enclosed exposure method, each time 1/2 blocks or less, and at most, it is overexposed or underexposed by one block.