What are the requirements for the picture when shooting?

The fourth puzzle of composition: the secret of trend

What is the trend? Trend is the direction that things may reach but have not yet reached. Finding a certain trend can lead many followers to pursue the same goal. Is there room to explore trends in a photographic work? Where are these trends hidden in the picture? What role are these hidden trends playing? What are the specific trends in the picture?

The trend in the picture has no specific direction, and the performance of the trend is basically implied in the indication of lines or things. What kind of lines have the function of trend? Do you have parallel lines? It can be said that no parallel lines can intersect even after several turns on the earth, which means there is no direction to reach. Are there any crisscross lines in the picture? No, because the intersection line has reached the destination.

Under what circumstances will lines show the trend we want? Non-parallel lines, non-staggered lines in the figure (the line segments in the figure may be staggered, but there is no substantial interleaving), lines that intersect not far from the figure, and hidden lines that lie outside the figure in the direction of things are all lines with trend function.

What can I get by using trend function to find the line? With these trends, the picture can give the audience a broad imagination space, give full play to the space of thinking, and have endless fun, so that the audience can find their own answers outside the picture, thus expanding the role of the picture. For example, a person or a group of people in a painting is looking at a point outside the painting, and the viewer will be attracted by these lines of sight and imagine what is outside the painting. Also, if the trend line is well used in the landscape picture, there will be infinite imagination charm in this landscape picture. After discovering this secret, can we still let go of these trend lines and hidden lines?

The fifth mystery of composition: the charm of curve

Curves attract people's attention easily. Moreover, we have an inexplicable love for curves. In nature, there are living animals or plants and some moving objects that can perfectly embody curves. In addition to these potential symbolic meanings representing life and movement, are there other mysteries about curves that fascinate us?

Usually when we look at a picture and see some simple curves, we will use arcs and S lines to express our wonderful feelings about the curves. But when the curve is twisted and the combination is more complicated, the emotions will be more and more stimulated. How did the motivation of this emotional source come into being? How can I feel endless?

It is not easy to simply find the charm of curves. If the curve is cut into line segments, we will see that these line segments are the boundaries of circles with different sizes, so that we can understand that there are many circles hidden in these curves. What is the significance of seeing these circles? What answers can these give us about the charm of curves?

Circle, as we know, has never stopped searching for it since human beings were infatuated with it. Since Zu Chongzhi first put pi in front of us 1500 years ago, this answer has been endlessly counted. In our picture, there are some circles hidden in the curve. The more complex the curve is, the more circles it contains, and the more attractive it is. Does this charm have anything to do with this endless arithmetic? If not, what can be a more perfect explanation! ?

No matter how we interpret it, circles and curves are what we strive to grasp when composing a composition, so that the charm of curves can be found in our pictures, especially human photography, which only shows the surface light perception and texture of the human body and ignores the curves existing in the human body. I think this picture is only a record of human beings, and there is no art at all, which will fundamentally lose the charm of human art.

The sixth problem in writing: the meaning of relevance

Relevance is the internal connection between things with some similarity or contrast. When two (or more) things need to appear in the picture at the same time, if there is no correlation, this will only lead to scattered viewpoints. When shooting, we sometimes want to take pictures of everything we see, but when the photos come out, we find that we don't know what to look at. At this time, we thought of subtraction, and subtraction was used. If it doesn't fit, we'll delete the meaning of the picture. Under what circumstances can those multiple subjects be combined into a picture? What method should be used to do it?

After learning the processing method of the interesting center of the viewpoint, I mastered the processing method of the single subject position in the picture. When there are two or three or more topics, the composition becomes at a loss. When there are more than two so-called figurative subjects, the subject is no longer a concrete object, and this subject is already a certain connection contained in the figurative subject, which is called association here. When this association exists, although there are many objects in the picture, it will not cause the viewpoint to be scattered. For example, no one would think that the most common souvenir photos are not directly related to people, but taken separately. There is an internal connection here, that is, a trip here. Also, when we want to show the gap between the rich and the poor, we always want to have an image representing the rich and a background of the poor. Even if they do their own thing, they won't distract the audience. This is their internal connection at work, and the connection makes the picture look harmonious.

What's the significance of mastering relevant methods to deal with pictures? Related photography is mostly used in documentary photography, and this method is widely used in hot news photography. This way of shooting can reveal the internal problems in the process of social development through superficial phenomena, which is helpful to quickly understand the changes of social contradictions from real images and promote the development of society in the right direction.

It is easy to compare things in the picture, achieve the purpose of irony and humor, try to find the internal relationship of multiple things, and take some responsibility for social development.

The seventh puzzle of composition: the function of parallelism

The picture reflects the three-dimensional scene of the shooting range through the plane, and the scene is compressed on a plane regardless of distance. In this way, many scenes with depth effect can not be well represented by shooting, and sometimes scenes that look good are shot. However, the picture that came out lacked a lot of depth that we saw at that time, which virtually eliminated the impact of the picture, and the plane made us lose a lot.

Can the plane show a three-dimensional effect and a sense of depth, so that the picture has considerable visual impact? What method should be used to do it?

The method of expressing the distance of a plane picture is realized by using the different sizes of objects, but not all objects with different sizes can show this characteristic in a plane picture. We often use objects of different sizes to shoot the sun or another distant figure, thus creating the illusion that this hand is really magical. This is the result of plane compression, which makes the sense of far and near perspective disappear, and these objects of different sizes do not show the effect of far and near impact.

How to do it well? It is found that shooting an object with arrangement and combination from a certain angle is easy to find the distance relationship of this object, and using the plane effectively will make the picture visually active.

Parallelism can bring us visual effects beyond the plane, especially in landscape shooting, which will make the picture particularly eye-catching.

The eighth puzzle of composition: looking for motivation

When seeing some pictures, the viewer will be driven by some force in the picture and can't help but admire: "The picture is so imposing." What is the specific form of momentum? How does the momentum in the picture exist?

Before we know what momentum is, let's feel our intuition about the state of things. When the state of an object is not great, we don't feel heavy about it. When something is near and far from us, we have no sense of urgency about it. When in a dark environment, although there is some light, we still have fear. If we put these feelings together, how will our hearts feel? We will be oppressed by heavy feelings, driven by urgency, driven by fear, and finally shocked by these feelings until we give in. The result of this comprehensive feeling is the embodiment of the motivation of things.

How to make good use of these aspects in the picture? The sense of heaviness is formed by the subject occupying a considerable space in the picture, the sense of urgency is that the objects in the picture have the direction of movement, and the fear is produced by the dark color.

Then the subject occupies the whole picture, the object moves in a fast line, and the picture is dark. Will these be motivated? I don't think so. The subject occupies the whole picture and lacks contrast. It doesn't feel big enough. The direction of motion of an object is a possible trend, not a distant trend, not the actual state of motion. Black is complete and cannot be counted as color. On the contrary, black will feel peaceful, suggesting that you can rest in peace. A large area of dignified color can only be felt through a small amount of light contrast.

Can you try to find the momentum, so that things with dark colors and a sense of movement towards the photographer occupy most of the space in the picture to realize the feeling of momentum? Sometimes color is not absolute, such as rolling white clouds and surging waves can also create momentum.