Eight Key Points for Taking Touching Psychological Photos
- Dec 02, 2019
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It's not about how well you have the equipment and experience to take pictures of the Spirit of Attack. The following eight points are applicable to any person, any equipment, to produce good works. Do these principles exist in your mind?
Put this in the first place because it can't be overemphasized. You can practice it every day, and sometimes you don't even need to bring equipment. Photography is drawing with light. Any camera is just a box for you to put light in. Some are precise and expensive, while others are simple and cheap.
The simplest and most direct advice you can give is, "Learn to find and appreciate good light". Would the sunshine be more beautiful through the trees? What color is the light? Is there any reflection on anything? Is the shadow playing special? Learning to read light is half the battle for a good photographer.
Composition has a variety of methods, techniques and genres, but the most traditional classic "trichotomy" you should understand. Simply considered as four lines, the viewfinder frame is divided into three parts vertically and horizontally. You can put the line of the scene close to the line, or put the main body or important elements above the intersection point, highlighting your content proportion and interest center.
Proper composition is better than shooting something directly. When you naturally practice the sense of observing composition, think about how to break it.
Although it's a lot of nagging, it's true. Ask yourself before shooting, what are you going to shoot? Where is your subject? Interesting? Would it be interesting to take some fantastic pictures on purpose? It may seem redundant, but if you ask yourself, you know what makes it so boring. To shoot scenes that tell stories and solidify moments.
Understand that it's what you put in front of the camera that makes this picture, not the camera that decides it. You shouldn't complain about your equipment, although higher-end equipment can add points to the picture, but if you're a boring subject, there's only room for good equipment. You can't point the lens at the right subject. It's an unchangeable fact that boredom is always boredom.
You may focus on some of the things in front of you, but you should be aware that these are only part of your whole picture. Ask yourself what you're going to fill in the rest. What kind of background you choose can completely change your composition and content.
How bright and dark should the background be? What is the main tone of the background? Is it to brighten the background and clarify the details of the environment, or to separate the subject from the background? If your background doesn't help your picture, change the background and connect the subject with the background.
Most of us look at the world from a horizontal perspective of 1.5-2 meters. If we look at the world from other special altitudes, we can get very special perspectives.
You can shoot from a closer distance, or from a more interesting angle, remember to jump out of the frame of the lens, test various orientations, and interpret it from a new perspective even in the face of familiar scenes.
You can also start with details. What is common in everyday life is to discover subtleties with your eyes. Keep the lens close to the object you want to shoot. Find all kinds of materials, textures, patterns and shapes from cement, leaves, insects and trees.
Whenever and wherever we can find line elements, wires, horizons, wake clouds, trunks, roads, think about how to use these to form aesthetic shapes in the picture.
Let the lines close, guide the line of sight to the main body, or make the lines into a bounding frame, according to your composition to play the role of lines.
This is where all the above principles converge. Instead of simply taking out a camera to take a picture, think about it, wait and observe for a while, change positions, analyze the light, see how the subject is moving, or wait for a wonderful time, what will happen? This is the difference between follow-up and photography.
Bresson put forward the concept of decisive moment. He insights into the light of the environment, prepares the suitable composition, and waits for the perfect time to complete the shooting. Although we can't shoot like a master, his idea can at least let us get rid of follow-up photography and really create images with clear creative intentions and record impressive moments.