Tips for photographing brushed swans What are the techniques for photographing brushed swans?

1. The best light for photographing swans is morning and evening, especially when the sun sets. The swans are most charming when photographed. When the ambient light is mainly gray, or the sky, sea, land, mountains, trees, villages, etc. have complex complex pigments, the intermediate exposure value should prevail. When the background light is black, follow the "white plus black minus" rule and appropriately reduce the exposure value. When the background light is white and you are in a backlight environment, you should increase the exposure value appropriately. I conclude that it is generally better to control the increase or decrease in exposure value between plus and minus 1/3 to 2/3. In addition, photographing swans in the snow can be said to be a God-given opportunity. The ice and snow are like huge reflectors, which further highlight the holiness and nobility of the swans. However, you must pay attention to increasing the exposure value when the entire subject and background are white. Suggested methods: Pre-lighting the back of your own hand or other people's faces or hands in the same lighting environment works great!

2. Generally use spot metering, evaluative metering and single-point autofocus. Spot metering mainly highlights the subject and weakens the influence of the surrounding environment. It is often used for static and close-up shooting. Evaluative metering is mainly used to better reflect the average exposure value of the subject and the environment. It is generally used for shooting that highlights the subject and reflects the environment. Single-point autofocus is a common method commonly used to selectively ensure subject clarity. When shooting, it is best to use continuous servo focus on the flying swans. When the autofocus is affected by the environment and cannot focus on the subject, you can choose to use autofocus and manual focus together. Of course, don’t think about taking a picture. It is also necessary to choose later. When taking pictures of flying swans, the shutter must be set to continuous shooting. At the same time, it is also important to control the number of continuous shots. It is best to choose an odd number, such as continuous shooting of 3, 5, or 7 photos, so that the posture selection can be optional in the later stage. powerful. If you choose an even number of continuous shots, such as 2, 4, or 6 shots in a row, you will find that the first and last poses of the flying swan you took are the same when you select them later. This is caused by the frequency of the swan's wings beating when it flies. Generally speaking, the speed of swans in flight should be adjusted according to the distance. For swans flying closer, the shooting speed should also be increased accordingly. Generally, subjects that are near or far away should be controlled between 1/500s-1/2000s. The definition and sharpness of dynamic swans shot at speeds lower than 1/500s will be greatly reduced.

3. When shooting swans, clever composition and charm are the key to making good films. Especially when taking photos of swans with picturesque scenery, you must consider using mountains, lakes, villages, wheat fields or field ridges as backgrounds, and pay attention to the use of aperture and depth of field. For example, when photographing swans flying in a village, firstly, the distance between the photographer and the subject must meet the needs of the composition. Secondly, by opening the aperture as wide as you want, it can blur the clutter of the background and enhance the expression of the subject. You need to understand the characteristics of the equipment you are using, especially the relationship between the distance between the lens and the subject, and the distance between the subject and the background, in order to produce a visual effect with a strong sense of perspective. The most difficult thing to grasp when photographing swans is the white color of the subject and the posture of the swan. It doesn't matter whether the subject is virtual or real. There is no need to be so clear that you can only see the hair. Sometimes the combination of virtual and real can create something more interesting.

4. For example, if you use slow shutter speed to shoot a swan, the moving trajectory of the subject will be clear, and the film with a dynamic blurred background will be more attractive and charming. In such a film, as long as the head and neck of the swan are shot realistically, other parts can be fully blurred to reflect the movement. It should be noted that the speed of such a film should be controlled between 1/30s-1/80s. It is best to use a dark tone as the background. It is more convenient and feasible to adopt the speed priority mode.

5. When photographing swans, unlike other birds, the subject should be as large as possible. Swans are large birds. Generally, the wingspan of adult swans is between 800㎜-1200㎜ when flying. If you don’t pay attention to the photo, The resulting photo will have a "blurred frame" phenomenon, destroying a good composition. Therefore, it is necessary to boldly leave enough space to create conditions for secondary composition and trimming in the later stage.