Skills of portrait shooting in urban scenes
- Oct 25, 2019
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Portrait photography can be taken from a specific location, or from a roaming shuttle in the whole city. What's the difference between the shooting and the general situation when the venue is so borderless and so unrestricted? Photographer Rou 7 used an example to shoot and explain, the city is located in Hong Kong, see what is worth learning!
I. Searching for Characteristic Elements
It was already evening when we arrived in Hong Kong, but the night scenery in Hong Kong was world-renowned and the lights were dull, so we shouldn't have stopped to take some pictures. So we came to the most famous temple street. When you are shooting in a city, it's best to know what's the most characteristic of the city, and then to find this element, and join in the shooting, so that the film comes out and is not uniform. This is backed by Hong Kong minibuses, with all kinds of signboards behind them. Although it's a night scene, there's plenty of light around it. When shooting a night scene, attention should be paid to the light field. The light source on the model's face should be as cool as possible. Because if the face is a warm light source, there is not much room for later period. Author of Lost in Hongkong: Rou 7
One of the most distinctive features of Hong Kong is the Lan Kwai Fong, which is not the most famous bar street. Because there are too many landmark features, it is also necessary to shoot here. Behind the crowd, with the model in front of the static ready-made sharp contrast. The contrast of warm and cold light makes the picture more layered. Author of Lost in Hongkong: Rou 7
Second, try to get close and look for the future as a cover.
This is a barrier barrier beside Languifang. Looking at the past, the environment is messy. In fact, we just need to get closer and closer. Kapa also said that you didn't shoot well enough because you didn't get close enough. That's not true in all cases, but it's not unreasonable. This film, at the lower right, is a semi-circular virtual lamp, which occupies most of the picture. Behind the lamp was a miscellaneous scene, so it was cleverly blocked by the lamp. This prospect is in harmony with the background behind it. The foreground lights, the mid-range people and the back roads are clearly distinguished from each other. Author of Lost in Hongkong: Rou 7
3. How to Film in the Flow of Citizens
When shooting in crowds, the mood of the model will surely be affected by passers-by, so the thing to do is to communicate with the model in advance so that she can free herself as much as possible. Anyway, the shooting stays for a short time, and does not need to pay too much attention to the silent pressure of others, and this is not a very obstructive behavior. The theme of this time is to lose Hong Kong. In fact, there is another layer of meaning behind it. This film was taken in the light of Wang Jiawei's feeling of Chongqing Forest. Background lighting is turbulent and crowds shuttle. When shooting, I opened the aperture to the maximum, so as not to let the background grab the main body. If you have a tripod, you can also try the slow shutter to create the effect of the main body not moving and the crowd surging around. Author of Lost in Hongkong: Rou 7
During the next day's daytime, I went to Hong Kong's old double-decker jingling car, which, as I said before, is also a symbol of the old Hong Kong. But the shooting process, I suggest you do not follow suit. You can use this idea to shoot other venues, here is just a special explanation. Because I wanted a different perspective, I thought that the whole people were shooting out of the window, because only in the car, the elements were too monotonous. At this time, the light is better than to master, but the most important thing is to find a model who will accompany you crazy. Take a photograph with a rope. (I really recommend not to follow suit, because even if you are not dangerous, you are seen by the Hong Kong police, the consequences are very troublesome! In the same way, we should pay attention to safety and order when shooting elsewhere. Author of Lost in Hongkong: Rou 7
V. Compressing Scenes with Long Focus
This is the ferry building at Star Wharf, with Victoria Harbour in the background. Call the model to stand on the edge of the corridor. I stand on the overpass 40 meters away. Use a long focal length to compress the whole background. The advantage of long focus photography is that its compression has little distortion of the visual effect. Long focal length photography is not good, need to find a suitable good scene to be meaningful, more observation of possible places, see the idea may wish to try. Author of Lost in Hongkong: Rou 7
6. Choosing Screen in Restricted Environment
This is on the ferry, because it happened to be cloudy in Hong Kong that day, and the light inside the cabin was darker than outside, so we simply overexposed the outside part, so we should know the trade-offs in the shooting process. In fact, the outside is overexploded, and the white highlights can increase the contrast of the film from another angle. Of course, in this case of large ambient light, you can also try different exposure values, each with its own taste. Author of Lost in Hongkong: Rou 7