Capture different landscapes

We've all been there: when we're visiting a picturesque landscape, canvas prints we want to take pictures of what we see, so we don't miss a spot. But when we went home and looked at the photos, we found them so boring and boring. Everything that used to fascinate me was photographed, but it just didn't feel right. Why is that?

When we are there, we scan the landscape, choosing to focus on an element that appeals to us. Everything in sight is visible to us, canvas prints online but our eyes and brains have the ability to ignore the unattractive details. But cameras don't have that power. It needs the help of the brain.

If you want to get a good view, the most important thing is that you have to put in the time. When you're in a strange place, take the time to discover -- drive or walk, go to different places, discover different perspectives. Remember to carry a compass with you to determine where the sun rises and sets. Imagine a scene in different angles of light. Some places are not touched by light. It takes some practice. For example, to photograph a canyon, the west side of the canyon will be very beautiful in the morning. But if the canyon is deep, there's a lot of shadow on the west side. If the shadow isn't what you want, you'll have to come back later when the sun is a little higher, acrylic prints australia or plan to come back on a cloudy day when both sides can be photographed.

First, water

If you're photographing a landscape that includes a river or stream, consider its characteristics and how they can be represented in the photograph. A big, slow river looks and feels very different from a small stream. The water body can be the center of the image, or it can be just one element in the composition -- diagonal, horizontal, or as a shape that complements other elements in the frame.

Look for reflections in the water. In some cases you can use reflections to enhance the image -- such as the color of red leaves reflected on the water -- but in other cases they can also be distracting. In order to remove or show reflections in the work, you need to try to shoot back and forth from different locations, or when the sun is at a different Angle. Polarizing filter can eliminate reflection and improve contrast to some extent. Adjust the polarizing filter until you get the effect you want.

Second, the forest

There are other issues to consider when photographing forests. First, observe the characteristics of the forest you want to photograph and think about the emotions you want to express through the work. Is the forest dark and solemn or bright and transparent? What characteristics does it have that help you express how it makes you feel?

As with any scene, you need to identify a subject (point of interest). A slightly unusual tree trunk, a zigzag path, or the colorful colors of a flower vine are all good subjects. No matter what you shoot, the following method of composition can make your work attractive: look for beams of light penetrating the canopy, or spots of sunlight on the ground.

Whether you're photographing the forest from the outside or the inside, think about what shapes, lines and other composition elements you can use. Try both telephoto and wide-angle lenses. Shooting wide angles upwards can make the tree appear taller; a telephoto lens compresses the distance between rows of trees. You can lie down and pat the branches up, or climb up the tree and pat the path down.

Plains and grasslands

Vast Spaces like grasslands and plains are basically the most difficult landscapes to photograph well. This is because it is often difficult to find a suitable subject (point of interest). In many cases, this emptiness is one of the things you want to record. Even so, it's important to remember that your audience needs a focal point to draw attention to your work. You look for an element that is unique to the landscape, and use it as a point of interest to express the landscape material and show the scale of the landscape. You don't want the viewer's eyes wandering aimlessly through the photos of your work, so take advantage of anything that might catch his attention -- a winding road, a stream, a fence.

Like the forest and grassland has its own unique temperament. So you have to look around and find an Angle and composition that reflects that particular temperament. Ask yourself, "What is the most important feature of this special place?" And watch the sky. Should the sky take up more or less space? A clear blue sky may sometimes best reflect the character of a prairie. Some grassland is unique during storms. Also, don't forget the composition rule of thirds. If the sky is important, place the horizon a third of the way to the bottom, or a third of the way to the top.

Four, the desert,

Look for ways to express the desert's desolation and beauty. At noon, for example, the hot ground looks past the undulating scene. Compress it with a focal lens, and you get what you might call a "hot" effect. The desert is also an ideal place to photograph the stars. There is little water vapor in the desert air and no light on the ground that interferes with starlight, so more and brighter stars can be seen in the desert. Watch how the color of the sand changes over the course of the day as the Angle of sunlight changes. Think about how to capture the characteristics of these deserts. A wide-angle lens is best used to paint a panoramic view of the desert, while a close-up of the hardy vegetation on one side of the dune shows a different substance.

Consider whether to include the sun in your work. The sun helps to express the heat of the desert. But photographing the sun is a tricky business. If the weather is clear and the sun is so bright, this can cause underexposure of everything else in the lens. You will need to use manual mode, or use the following method: move the sun out of the lens, half-press the shutter to measure the light, and then take a picture of the scene including the sun. If you are using film, you need to set up a studio to better control the exposure. If it's a digital camera, check it after shooting. Wide-angle lenses are appropriate in many situations, allowing the overexposed sun to take up less space. But wide-angle lenses are susceptible to producing halos. The advantages of using an SLR camera are obvious

Five, the seaside

Try to imagine these scenarios: a tropical island with sandy white water and the shadows of coconut trees; the rocky shores of New England; An overcrowded resort beach. What kind of coast do you want to photograph? How do you get the best results? What time of year, weather, and season best represent its material? These are all questions to answer when looking for perspective and composition before shooting. There are always differences between coastlines. You have to be able to show that difference in your work.

Once you've identified the characteristics of the coastline, look for elements that highlight them. Tropical beaches, palm trees can be a good framework; the breaking spray on the rock adds momentum to the abrupt rocky shore; as in the desert, be careful when photographing a beach. Protect your camera and lens if it's windy. Do not open the back of the camera when outdoors.

Six, mountain

Are the mountains you want to photograph rugged or monotonous, sinister or fascinating? How do you feel about them? Look for elements that add to your overall feel and look through the viewfinder. What composition, perspective, aluminium plate printing light and weather work best? Also look for details that reflect the mountain temperament.