Share shooting skills, because beauty is the glory of landscape photography throughout the empire.

If we want to express the natural scenery incisively and vividly, we must pay attention to its sense of form, and the expression of the sense of form emphasizes four characteristics: atmosphere, momentum, temperament and charm.

1, atmosphere

Generally speaking, the atmosphere refers to vague, boundless and ethereal, which is easy to see on the surface. But the key atmosphere lies in the connotation of the picture, so we should pay attention to its enthusiasm, solemnity, desolation, cold, loneliness, terror, joy and so on. These are the atmosphere. This is not based on the rendering and cajoling of smoke, fog and clouds, but on the spirit and feelings presented in the picture, and this atmosphere is not only so monotonous as it is intuitively seen, but also contains emotional feelings.

2. Momentum effect

The word "potential" is easy for us to understand as a situation, but adding the word "qi" to form momentum is no longer a superficial situation. As the saying goes; "The mountain is not high but it is in the ascendant, and the water is not deep but moving." This is the expressive force of qi and potential. So qi and potential complement each other. Without qi, the potential is not obvious. Only potential without gas is rigid and lifeless.

3. Temperament

Simply put, the "quality" in photography terms is the texture. If you shoot Huangshan Mountain, the most important thing is to show the quality of the stone, that is, its unique texture and level, so that people can see the truth and have a three-dimensional sense. The combination of qi and quality is temperament, and temperament is more important than connotation. The most important thing in art is connotation. Without connotation, it cannot be art.

The connotation is found in the works, which is the author's spiritual input to the works and expresses his artistic enthusiasm, intention and personality through the works. We can know the author's knowledge, personality, character and artistic accomplishment from the temperament of the work, which is the most faithful reflection of the author's temperament. Therefore, temperament is cultivated through accumulation, hidden in it, forming a unique style, distinctive features, personality and techniques of external individuals.

4, verve

It is the visual sense that can be seen directly on the screen, with magnificent pavilions and touching, inspiring and surprising pictures. The premise is that the scenery should objectively have this kind of situation and charm. But if the shooting skills and experience are insufficient, you can't show the existing boldness of vision. On the contrary, with superb shooting skills and rich experience, we can not only show our existing verve, but also exaggerate it, even some scenes that are not bold enough, and we can also skillfully emphasize verve from the perspective of shooting. It is also the embodiment of the author's boldness of vision that works can have boldness of vision.

Composition technique

The picture composition management of landscape photography is very important, and there are mainly six composition principles:

Balance: the picture layout is symmetrical or asymmetrical.

Contrast: Use the contrast techniques of size, height and distance.

Theme: The theme layout is prominent on the screen.

Connectivity of the picture: The connectivity of the picture comes from the connectivity of lines and objects, and there must be Long Mai. The vein is the starting point of the picture, and the pulse of progress is the point of disappearance. These comings and goings are all traceable. Only in this way can we effectively express the sense of perspective.

The rhythm of the picture: the rhythm of the picture is mainly generated from the lines of the scene, which can be found in the straight lines, curves, oblique lines, arcs, up and down curves and left and right turning lines of the picture, some of which are obvious solid lines and some are hidden dotted lines; Some are complex and contradictory; Some are simple and pure, but lively and flowing; Some are strong and weak, and some are vigorous. These lines can effectively create a sense of rhythm and connection in our pictures. Therefore, we must pay attention to the use of scenery lines in landscape photography.

Frame mode: In order to make the frame rigorous, we can also deal with the frame mode to measure the weight of the frame layout.

Angle of view and angle

A perfect scenery photo should be set off by other objects besides the main scene of the theme. In photographic terminology, the main scenery and the objects to be set off are called subject and companion. There are primary and secondary objects, so appropriate arrangements should be made on the screen. Generally, the subject is arranged in an important and obvious position on the screen, and the companion is only located in the upper half or the lower half of the screen, or a part of the left and right. Never connect the accompanying bodies and echo each other, otherwise it will form a picture of primary and secondary dispersion.

Scenery with prominent buildings as the scene object should take buildings as the main body, and some scene objects are not one but many, which can even occupy the whole picture. When shooting this kind of scenery, we must first decide the position it should occupy on the screen, then decide the number of shots, and then choose the shooting angle.

There are many natural scenery without buildings as the target. Because it has no fixed scenery target, the range of natural scenery is wider, and the desirable shooting position is more flexible. In a natural scene without a fixed subject, the range and shooting angle of the scene should be determined according to the natural conditions of the scene and the ideal sun rays.

For example, the landscape of Guilin must have mountains and water. Should the mountain be the main body or the water be the main body? This depends on the scene. If the river is near and the mountain layer is far away, the river should be the main body, otherwise, the mountain should be the main body. When taking pictures with the river as the main body, we must arrange the river in the most obvious position on the picture, and arrange the distant mountains on both sides of the river as a foil to the river. The horizontal line of the river view is generally obvious, and it is the easiest to split the picture in two, which affects the connection between the host and the guest.

Therefore, if you draw a river on the opposite side of the river, its horizontal line must be obvious, so you must choose objects with obvious straight lines (such as wooden boats, masts, branches that can do close-up scenery, etc.) to break through the horizontal line, or take a boat from a distance as a close-up view. If the river is curved, its horizontal line will not clearly divide the picture. But in order to show the depth of the river, we should stand in a higher position and shoot from a bird's-eye view. This can not only show the far-reaching scenery, but also make the curved horizontal line form an arc on the painting and increase the aesthetic feeling of the lines.

There are many mountains near the water in the distant mountains, so it is necessary to give priority to mountains, supplemented by water. This mountain must be higher than this river. When the mountain is near the river, standing at the foot of the mountain can not only see the river, but also see the whole picture of the mountain layer. Therefore, when shooting the scenery near the mountain and the far river, we must stand on the mountain, take the mountain layer as the main body, and shoot from the overlooking angle, so that the white far river appears among the mountains.

Shooting the mountain scenery without seeing the river, you can stand on the mountain with the mountain as the prospect, or stand at the foot of the mountain to shoot the mountain shape. Some appropriate scenery should be taken to set off the mountain scenery, so that the feeling of isolated mountain can be formed on the screen. It shows the imposing manner of the majestic mountain peaks, and can find objects suitable for setting off the mountain peaks, so that the mountain scenery appears more beautiful rather than boring on the screen.

Forest and Yuan Ye are both natural scenery, and there is no single fixed scenery target. Forest scenes change with different seasons, and Yuan Ye will have different scenes due to different production conditions. For example, trees in the forest have different hue and density programs in four seasons. There are countless cows, horses, flocks or various rich crops in Yuanye (Botanical Garden and Longsheng Season). Although both The Forest and Yuan Ye are suitable for large scenes to express scenery, the framing methods of The Forest and Yuan Ye should be different.

Shooting the forest requires being in the forest, selecting scenes that are far and near, high and low, sparse and dense, and shooting from the perspective of head-up lens, in order to show the broad and far-reaching forest face on the screen. If you stand outside the forest and shoot, you can only see a dense forest with strong colors, which is not only out of harmony with the tone of the sky, but also has no sense of depth of the scene. Yuan Ye is a flat land. If you don't stand in a suitable height and shoot from above, you can't fully show the life phenomenon in Yuanye.

Urban landscape is a landscape dominated by streets and buildings, and each city has its own characteristics and contents of landlords. When shooting city scenery, we must emphasize the local characteristics and prosperous scenery of the city. When shooting the city scenery, we need to choose the lens according to their different local characteristics. For example, Shanghai is the river bank and the largest city in China. Waterway traffic at home and abroad is smooth, and high-rise buildings along the coast are also concentrated.

When shooting the city scenery of Shanghai, we should choose the Bund, such as Beijing, Guangzhou, Hangzhou and other places that can reflect the characteristics and scale of Shanghai. However, it is necessary to have a foothold at an appropriate height (it is advisable to stand on the fourth and fifth floors) to shoot the city scenery of Dishi. Standing too high or too low, shooting the scenery of the building close to it is easy to cause uneven and deformed lines of the building. In other bustling areas of the city, we should find a higher shooting position to show its bustling scene (such as the night market with lights), and observe whether we can show the bustling streets and shoot together, because this will not only show the characteristics of this place, but also show its prosperity and shoot urban scenery works with good atmosphere.

The rural scenery should be photographed in combination with the beautiful rural environment, and the range that can be photographed should be used as much as possible to show the broad face of the countryside. Houses in rural areas are generally not very high and relatively concentrated. If you stand on the hillside near the village, you can show it well. So in order to present the face of the countryside and the far-reaching and abundant crops, in order to show the lines of the countryside. It is best to find a higher hillside as the foothold (Longsheng), and then make use of different scenery, crops and color blocks in rural areas throughout the year to make favorable shooting choices.