Six strategies for Flower Photography
- Dec 02, 2019
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There are too many people shooting flowers, and there are not many kinds of flowers that can be photographed. Here we suggest that we try to avoid the interference of the environment and find a really favorite place to shoot.
This is a hay shot from a macro lens. What's interesting is that there is a little bee flying in the air. It is difficult to shoot with a macro lens, because the depth of field of the macro lens is very narrow in the case of large aperture, and when shooting in the field, everything dances with the wind, so shooting speed is required faster.
For example, in macro shooting, take more than 1/1000S of shooting time to maximize the aperture, which can ensure the maximization of background virtualization.
So far, I don't know the name of the flower in this work. Here I recommend a mobile phone APP for shooting flowers and plants: Flower companion, when shooting plants, this software can automatically identify the name and family of flowers.
When I shoot flowers, I prefer black-and-white shooting. However, not all flowers are suitable for black-and-white mode, because some flowers are not so rich in brightness changes. The edges of flowers are not so unique.
And in the process of shooting flowers, I prefer to observe the changes of light and shadow. In one of the pictures, 100 microlenses are used to focus the tip of the stamen, so the focus range is very narrow. At this time, the photographer's choice of focus should be tested, and the flowers should not tremble greatly in the wind when shooting.
If you look closely at the center of the stamen, you will find that there are flowers in the flower. There are many filaments, pollen and so on. Under the macro lens, you will find a world quite different from the usual one.
The work was shot indoors, but in outdoor light. Photographing indoor flowers is not very demanding for light. It is perfect to have a relatively spacious window and natural light into the room. The way to shoot flowers is similar to the way to shoot human figures. One is to use backlighting, which shows the shape and outline of the largest range. Backlighting can fully highlight the fine hairy edges of flowers.
A little change in backlight will turn into side backlight. The vase itself has a certain form of aesthetic feeling, coupled with wild flowers picked from the outside, so the three levels of flowers, vases and tables can be expressed. But the color of the petals is best rendered only when the light is backward; when the light is smooth, the part of the petals is difficult to penetrate.
For the same bouquet of flowers, the painting uses a black background, but not black cloth. It is determined by relative brightness. If there is enough light to shine on the flowers and vases, it will naturally turn dark or gray relative to the far dark background. And it is the background that does not interfere with the foreground, but also sets off the content of the foreground. So when I measure light, I will use high-light point to measure light. The high-light point may appear on the right side. If I catch it, it will not be exposed, and the color and shape of the flower will be perfectly presented, basically the exposure of this photo will not need to worry about. Try to understand the connection between light and the object you need to photograph.
The work consists of several petals and a banana leaf. The greatest advantage of this work I shot at home is that there is no wind, no need to consider the screen shake caused by the wind, or no tripod. Window light and artificial light are the most common light sources for exposure.
The ability to look for details is very important. Most people do not pay attention to details when looking at flowers, but produce batch forms. For example, within five kilometers, all the flowers are the same at a glance, but the real personality can only be reflected in the details.
True personality is accomplished in the long focus section. If you want to make your works more recognizable, you need to gradually transition from wide angle to long focus. This is a process of examining growth.
When shooting details, you need to observe the shape of the flowers. When I shoot my own flowers, I prefer to confine myself to a limited range. I don't need much content. What I need to do is pay attention to the same flower, and then analyze its shape and characteristics.
If a single flower is photographed in a clean background, it can be found that the light is coming from its upper right, exposing the surface of the petal, while the background is only slightly brighter in the central area, which is a clean background. In this case, it's the same way to shoot portraits.
If you change the angle and try to shoot flowers like human beings, you will start to think about whether you want to shoot the half body, the small half body or the whole body of flowers.
And you can also shoot dead branches that have flowered, or even shoot a small tip. When you shoot with micro or micro, some tiny details like skin can be photographed, and it will feel like opening a new world door.
When shooting flowers, I will take two lenses, one of which is wide-angle lens. In order to shoot the whole scene, I used a combination of environment and flowers to shoot, so that flowers play a very good embellishment in the picture.
At this time, the works can also be appreciated as landscape films, as well as flower works.
Flowers hang upside down and fall down. I want to place the part of the stamen in the bright part, so that the bright background can set off the stamen. The bright part of the flower happens to be in the area of round light, while the dark part is a cold tone and warm color of the flower, so in a work, brightness, color and shape interact with each other.
The impact of shooting a single flower must be much better than shooting a bunch of disorderly flowers, so try to find a clean background when shooting. The use of large aperture background virtualization can naturally make the shooting background concise, but if you want to pursue the ultimate conciseness, then you need to find a more concise background.
Make your own clean background. You can bring your own pure color clothes or find a clean wall. Look for the sky as the background, the sky will not show too many colors.
My work is a magnolia pendant branch found near the wall. It has a relatively clean form and is in a horizontal picture. Behind the wall there are some changes in shadows and shadows, which constitute changes in the background. Light and shadow, together with the flowers in the foreground, have achieved a certain degree of integration, and also present a certain picture intention in it.