How to Take Different Sceneries in Landscape Photography
- Oct 25, 2019
- 1 Comment
We all have the experience that when we are visiting picturesque scenery, we want to take pictures of all the beautiful scenery we see, lest we miss one. But when we went home and looked at the pictures, we found that they were so monotonous and tedious. Everything that once fascinated me was photographed, but I just didn't feel it. Why is that?
When we enjoy the scene, our eyes will sweep through the whole scene, and after selection, we will focus on an element that is enough to attract us. Everything in sight can be seen, but the power of our eyes and brains makes us ignore the unattractive details. But cameras don't have that capability. It needs the help of the brain.
If you want to get good landscapes, the most important thing is that you have to invest time. When you're in a strange place, it takes time to find out - driving or walking, going to different places, finding different perspectives. Remember to carry a compass with you in order to determine the location of sunrise and sunset. Imagine a scene in different angles of light. Some places are not illuminated by light. It takes some practice. For example, to photograph a canyon, the western side of the canyon will be beautifully sunlit in the morning. But if the canyon is deep, there will be a lot of shadows on the West side. If the shadow is not what you want, you have to shoot it later when the sun rises a little, or on a cloudy day that you plan to shoot on both sides.
If you want to photograph a river or stream in a landscape, consider its characteristics and how to show them in the photos. A slow river looks and feels completely different from a stream. Water can be the center of the whole picture, or just one element in the composition - diagonal, horizontal, or shape that complements other elements in the frame.
Watch the reflection in the water carefully. In some cases, you can use reflection to enhance the effect of a photograph --- for example, the color of the red leaves reflected on the water surface, but in other cases, you can also distract your attention. In order to eliminate or show the reflection in the work, you need to try shooting back and forth from different places, or when the sun is in another angle. The use of polarizing filters, just to some extent, can eliminate reflection, improve contrast; adjust polarizing filters until you get the desired effect.
There are other issues to consider when shooting forests. First, look at the characteristics of the forest you want to photograph, and think about the emotions you want to express through the work. Is this forest dark and solemn or bright and transparent? What are its characteristics that help to express the feeling it gives you?
Photographs of Feifei Sheep
Like taking pictures of other scenes, you need to identify a subject (point of interest). A slightly special tree trunk, a winding path, or a colorful flower vine are all good subjects for shooting. Whatever you shoot, the following compositions can make your work attractive: looking for light that penetrates the canopy, or spots of sunlight on the ground.
Whether you shoot a forest from outside or inside, think about the shapes, lines and other elements you can use. Both long-focus and wide-angle lenses should be tried. The wide angle shooting upwards can make the tree appear taller; the long focus lens can compress the distance of a row of trees. You can lie down and photograph the branches and leaves of the tree, or climb up the tree and photograph the path under the forest.
Plains and grasslands
Broad spaces like grasslands and plains are basically the most difficult scenery to photograph. This is because it is often difficult to find a suitable subject (point of interest). In many cases, this kind of emptiness is just one of the things you want to record. Even so, remember that the audience needs an attention-grabbing focus to appreciate your work. You need to find a unique element in this landscape, and use it as a point of interest to represent the landscape material and to show the landscape scale. You don't want the viewer's eyes wandering aimlessly in the picture while enjoying your work, so you need to take advantage of anything that might attract his attention, such as a winding road, a stream, or a fence.
Wang Ye's Photographic Works in the Manchu and Qing Dynasties
Like forests, each grassland has its own unique temperament. So you have to search around to find an angle and composition that reflects this unique temperament. You have to ask yourself, "What's the most important feature of this particular place?" Also pay attention to the sky. Should the sky take up more or less space? Blue skies can sometimes best reflect the characteristics of a grassland. Some grasslands are unique when storms come. At the same time, don't forget to compose three-thirds. If the sky is important, place the horizon one-third from the bottom or one-third from the top.
Find ways to express the desolation and beauty of deserts. At noon, for example, the hot ground looks at past fluctuations. Using a focal lens to compress it, you can get a magical effect that can be called "heat". Desert is also an ideal place to shoot stars. There is little water vapor in the desert air and no light on the starlit ground, so more and brighter stars can be seen in the desert. Watch carefully how the color of sand varies with the angle of sunlight in a day. Think about how to capture the characteristics of these deserts. Wide-angle lenses are most appropriate for describing a desert panorama, while close-ups of stubborn plants on the side of the dune show another substance.
Photographic Works Sitting Loosely in a Broad Court
Consider whether the sun should be included in your work. The sun helps to show the heat of the desert. But shooting the sun is a tricky business. If the weather is clear and the sun is so bright, it will cause all the other objects in the lens to be underexposed. Then you need to use manual mode, or use the following method: move the sun out of the lens, half-press the shutter to measure light, and then shoot the scene including the sun. If you use film, you need a studio to better control exposure. If it's a digital camera, check it after shooting. Wide-angle lenses are appropriate in many cases because they allow the overexposed sun to take up less space. But wide-angle lenses are prone to halo. The benefits of using SLR cameras are obvious.
Imagine these scenarios: a tropical island with white water and shadows of coconut trees; a rough New England rocky coast; a crowded holiday beach. What kind of coast do you want to photograph? How do you get the best results? What kind of time, weather and season can best show its material? These are the questions you need to answer when you are looking for perspective and composition before shooting. There are always some differences in the coastline of different places. You have to be able to show this difference in your work.
Once you have identified the characteristics of the coastline, look for elements that highlight them. On tropical beaches, palm trees can serve as a good framework; the breaking waves on rocks make the abrupt rocky shores more powerful; and as in deserts, be careful when shooting beaches. If it's windy, take care to protect the camera and lens. Don't open the back cover of the camera when you are outdoors.
Lanjian 425 Photography
Are the mountains rugged or monotonous, sinister or charming? How do you feel about them? Look for elements that add to your overall sense and look through the viewfinder. What is the best composition, perspective, light and weather? In addition, look for details that reflect the temperament of the mountains.