How to Become Later Topics of Landscape Photography
- Oct 17, 2019
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This article is an article about "Let you change from a photographic novice to a landscape photographic novice". That is to say, you have to have some basic knowledge of photography and some shooting experience. If you don't even have the concept of shutter aperture, I'm sorry this article is not suitable for you. If you are a magnificent cow, please don't hesitate to teach me if I write something wrong, or if you feel you need to add something.
About later stage
I write this part in question and answer form. Maybe it's a big part for most novices to improve their photos, so I will focus on more ink, but it doesn't mean that the latter is the most important, or that sentence, landscape photography is the most important light. 1. Exposure synthesis
Q: What is exposure synthesis? A: Exposure synthesis probably means taking multiple (usually three to five) different exposure compensation gears on the same screen and then synthesizing them later in Photoshop.
Q: Why exposure synthesis? A: In order to solve the problem of high light ratio picture, that is to say, the light ratio of picture makes single exposure unable to accommodate all the information. For example, when you are shooting in front of the sunset, the photos must come out either when the ground is bright enough or when the sky is white or when the sky is normal, the ground is dark. From the histogram, it is beyond the scope. There are dead black or dead white in the picture.
Q: Can't I use PS or LR to pull back with curves? A: No, the photosensitive range of the camera's photosensitive element is physically limited. If the negative comes out dead black or white, the details will be completely lost, and no curve can be pulled back.
Q: Do most films need exposure synthesis? A: Generally speaking, it is not necessary to synthesize a single sheet with sufficient exposure. If you feel that a part of the screen is lighter or darker, you can adjust the local brightness contrast (I will talk about later).
Q: How should exposure synthesis surround exposure? A: The simple method is to use the BKT + continuous photography on the camera, choose the exposure distance and the number of surround sheets. Spacing I usually use +/-1, feeling 0.7, 0.3 or something is not very obvious. The manual control method is to expose the dark part of the picture accurately, then adjust the shutter bit by bit to reduce, the general distance is 1 gear, until the last brightest place will not die white. Anyway, remember the principle is that the brightest part is not dead black, the darkest part is not dead white. Whether it's dead black or dead white, just look at the histogram.
Kings Creek Meadow
Q: What's the difference between this exposure synthesis and HDR? A: First correct a concept, HDR = High Dynamic Range, which means high dynamic range, i.e. high light ratio and high contrast. Only HDR is commonly used to refer to the HDR images automatically generated by later tools. The tool HDR is also synthesized by multiple exposures, but it acts on every pixel. It often looks ugly, dirty and distorted (some people will like it, well, aesthetics is not in one plane). In fact, exposure synthesis is HDR, but it is selective HDR. It is up to people to choose the appropriate exposure of different parts of the picture. In the case of good processing, the picture will appear natural and real close to what the human eye can see. Q: How should it be synthesized later? A: Simply put, all the previously exposed negatives are superimposed in Photoshop as layers in order, and then the appropriate exposure parts are erased for each negatives. (If you are not clear about the layer mask, please google.) That's it. (God horse, isn't it a pit dad). Yes, this synthesis is simple to say, but it may be very complicated to do. It can be said that the core of synthesis is mask, how to create a reasonable mask for each exposure is a technology, but also an art. Generally speaking, the mask can be brushed out with a brush, but with what kind of brush strokes, what transparency, how to brush, are exquisite. In addition, Luminosity Mask is a very powerful mask technology produced in recent years. (Introduction in a minute)
Q: What is depth-of-field synthesis? A: If you want to put the foreground very close when you compose, even if the aperture is smaller, the depth of field may not be enough. So, similar to exposure synthesis, you need to take negatives for different depth of field, foreground, mid-range and background, and then synthesize them later. Friendship reminders need to be aligned when synthesizing, because the images from different depth of field are not consistent.
2. Luminosity MaskQ: What is Luminosity Mask? A: Simply put (erase, and simply put) is to create a mask with the brightness of the picture. The mask only works on some brightness parts of the picture. Such synthesis and local adjustment allow the mask to act on only the desired part. The masking function created by combining Luminosite with brushes will be very powerful. (Well, I feel I'm a little poorer.) For example, in a picture of a forest, the backlight side of the tree trunk is very dark and the sunny side is very white. It surrounds and exposes two negatives. I want the backlight side to use a brighter negatives and the sunny side to use a darker negatives, because the light-dark boundary of the forest picture is very complex and not. Rule, this mask is difficult to handle with a brush, and Luminosity Mask can do it well. Of course, here's just one example. In fact, Luminosity Mask can be used abundantly.
Q: How should I start learning? A: It is suggested that we should be proficient in exposure synthesis technology, that is, brush erasing mask before starting this part.
Q: Where are the relevant resources? A: Recommend some textbooks/videos for North American landscape photographers: Tony Kuper, Chip Philips, Zack Schnepf and Sean Bagshaw. These are the top two landscape photographers. You can search their personal home page and click in the Tutorial or Video column to see it. Briefly talk about the differences between several people's textbooks. Tony Kuper has a very detailed and basic text description (as if it were the pioneer of this technology), but it's really hard to read. Sean Bagshaw has a very detailed introduction to Luminosite videos for Tony Kuper's text instructions, as well as various other videos. His home videos are quite complete, but I haven't seen them. Zack Schnepf has a video for exposure synthesis and Luminosity Mask. I started with his video. His style is rigorous. Luminosity Mask is not as detailed as Sean said, but it's enough for people with masks. Chip Philips's video is richer than Zack's, but it's less detailed about Luminosity Mask and synthesis. In addition to Luminosity Mask and synthesis, Zack and Chip also talk about local adjustment of the screen, refinement of the selection, image sharpening and output, etc. Sean's video is divided into several, each with different emphasis.
3. Local adjustment Q: Is my film synthesized or not enough / How should I adjust the single film? A: In addition to being used for synthesis, mask technology is also used for local adjustment. That is to say, the adjustment layers of curve/color scale/color balance are set up on the negative, and then the scope of these layers is restricted by mask. In fact, compared with exposure synthesis, I think this part is more important for the improvement of the picture. This adjustment is more flexible and powerful than in Lightroom.
Q: How to make local adjustment? A: My personal idea is to adjust the light and shade first, then the color. The contrast between light and shade is based on the components of the picture, such as the sky should be darkened, layers should be created to open a mask, stones in the middle should be brightened, layers should be created to open a mask, and overall contrast should be improved to create a layer to open a mask, and so on. To adjust the contrast between light and shade, we usually use curves or color-order layers. I usually use photo filters, color balance and hue/saturation, natural saturation layers. In fact, every step of every photo is based on feeling, not much can be said.
Q: How to adjust it to look good? A: Actually, it depends on your later style. There are no rules. In fact, I'm trying to work toward Chip and Zack, which is the way I appreciate and move forward. Recently, however, more and more people find that they do not have enough control over color. It is not natural to use too much color and too high color temperature. We should continue our efforts.
4. About Lightroot and Workflow Q: See that most of the work you introduced is done in PS, what about Lightroot? A: Lightroom is usually used for photo management. In addition, the photos will be fine-tuned before entering Photoshop, such as changing the color temperature, eliminating highlights, and removing impurities. But they are all minor changes, just laying a good foundation for the negative.
Q: In addition to synthesis and local adjustment, what needs to be done later? A: My Workflow is generally Lightroom fine-tuning - & gt; exposure synthesis (if multiple) - & gt; local contrast adjustment - & gt; global contrast adjustment - & gt; local color adjustment - & gt; global color adjustment - & gt; fine texture (if necessary) - & gt; Orton effect or other effects (if necessary, this is not known how to translate, see Chip's). Video) - & gt; change picture size and sharpen - & gt; output.
Generally speaking, my synthesis process refers to Zack's style, while the whole process refers to Chip's style. There are no definite rules in the later period, especially the part of color adjustment, but we should form good habits and establish a stable and reasonable Workflow in the overall process.
2. Waterfall Flow: Waterfall is easy to say and difficult to say. It's easy to say because the effect of water flow is to be photographed. It's just to have medium gray filter and polarizer. It's difficult to say that it's the best subject to shoot on cloudy days, but generally everyone takes pictures very similar. It's not necessary to meet interesting light and control it well in the woods. It's so easy.
3. Snow Mountain Alpine: Because the mountain often occupies a large number of pictures, so the weather requirements are relatively not so high, there is morning and evening light on the mountain generally will not be particularly bad, the key is the shape of the mountain itself snow what is special enough to attract attention.
Lassen Peak Startrail
4. Lakes: In fact, lakes are generally not the subject of photographs. The simple lake surface has no characteristics. Generally, there is a reflection of a mountain, or the water is very clear and the objects under the water are visible, or there are special scenery, these lakes are worth taking. 5. Wildflowers: Not the close-range and micro-distance shooting, but the feeling of piece by piece. Generally, it is also the best beautiful background, such as mountains or cloudy skies. Wildflowers are no doubt the future, depending on the situation, you can take a close shot to highlight a cluster, or take a whole film far away.
6. Urban Nightscape: It's also very good to shoot, just find the right place, but although it's a night scene, it's usually the best light when the day before sunrise or when it's getting dark after sunset, which is more vivid than the all-dark sky.
7. Woods: This subject is not very good to shoot. It's easy to shoot on cloudy days, but it can't produce excellent results. The contrast of sunny days is very large and the later period will be slightly complicated. But it's also better to wait until about two hours before sunrise and sunset. There are few personal pictures, so let's not say much. 8. Coast: Yes, I was enlightened from taking pictures of the coast, but I still feel that the coast is the worst. Firstly, we should use appropriate stones as the foreground, secondly, we should use shutter to grasp the water flow. Again, many times, because the composition is close enough to the sea, it means wetting the body and preventing the lens from being wet by water vapor. Most importantly, most of the time, the composition of the sky will occupy 1/3 or more. If the sunny day is very dull, we need to wait until it is good. The light.