Knowledge of landscape photography composition
Knowledge of landscape photography composition
I have told you a lot about landscape photography before, canvas prints but today I will only talk about one point in the composition of landscape photography: the role of foreground in landscape photography. Foreground plays a very powerful role in landscape photography. It can increase the depth and level of the picture, thus making the three-dimensional sense of the picture stronger and more durable.
However, many people do not have a good command of the foreground when taking scenery photos. Today I will tell you how to use the foreground to create a different picture effect when taking scenery photos.
Echoing each other in front and behind.
When choosing the foreground, the first thing to consider is the mutual relationship between the foreground and the background, so as to make the foreground and the background has a mutual echo effect. For example, when shooting the winding mountains, the foreground should also have the tendency of winding and extending as far as possible, so that the whole picture looks harmonious.
For example, in this photo, the horizontal branches in the front are used as the foreground and the horizontal ridges in the back are very similar to each other, thus creating a mutual echo between the foreground and background.
When vertical branches are used as the foreground, the effect of meandering, extending, foreground and background is lost. For example, in this photo below, the vertical distribution of branches is used as the foreground. At this time, the foreground plays more of a finishing touch than the interaction between foreground and background.
You can use when pat waterfall longitudinal distribution of foreground and background to mutual echo, such as: the following two pictures, the left picture is to use the vertical distribution of the branches as a prospect, on the right side of the picture is to use the transverse distribution of the branches as outlook, the outlook effect between the two picture, see a contrast.
Two, color contrast/light and dark contrast
In addition to making the foreground and background echo each other, you can also make the foreground and background have a strong contrast. And want to achieve contrast, the most direct and effective way is to use color or light and shade for contrast. Example: in this photo below, the foreground and background are bright and dark in sharp contrast due to the light. This not only enriches the layering of the photo, but also forms a strong visual impact.
The contrast
Example: the foreground color of the picture below forms a strong color contrast with the background color, which gives the audience a strong visual impact.
Color contrast
Iii. Clear and fuzzy contrast
Clear and fuzzy contrast is when you use a large aperture to blur the background or foreground, which can also form the separation of the front and back scenes, thus enriching the sense of hierarchy of the picture. If you're not sure whether to blur the foreground or blur the background, try both and make your choice.
For example, in the following two photos, the one on the left makes the background clear and the foreground blurred. The photo on the right is to make the foreground clear and the background blurry. Whether it's blurring the foreground or blurring the background, it works really well, so you can try both.
The foreground is the guide line
As I told you before, when composing a picture, you can use the guide line to guide the audience's line of sight, so that it can focus on the focus of the picture. In addition to guiding the viewer's line of sight, the guide line can also serve as the foreground to enrich the sense of hierarchy and depth of the photo.
It not only guides the viewer's eyes, but also enriches the depth and depth of the photo
Also, note that it is not just straight lines or objects that can be used as guides. This can also be used as a guide line if there is a tendency to extend the image with many similar objects.
The repeated arrangement of stone benches forms the guiding line
There are many guiding lines in life, the key is whether you can find it or not. When you shoot, you can observe more and change more angles and you will find many elements that can be used.
The application of foreground as the main body
I have told you about the choice of the foreground and the role of the foreground, mainly about the foreground as a foil, rather than the main body of the picture. Now, what about the foreground as the main body? If the foreground is very prominent and is the visual center of the whole picture, why not use the foreground as the main body?
Example: in this picture below, in the vast desert, the camel team is not only the foreground of the picture, but also the visual focus of the picture. If the camel team is removed at this time, the audience will not be able to feel the vast desert; only when there is a contrast in the picture can the audience knows the vastness of the desert by comparison. At this time, the foreground of the photo not only becomes the subject of the photo, but also provides a contrast relationship to the picture, which enriches the sense of hierarchy of the photo.
The photo below is very similar to the one above. On the white snow, the branches that have withered and become yellow are particularly dazzling. Its appearance not only gives the audience the concept of size and contrast, but also reminds people of the tenacity of life. The withered and yellow branches are both the foreground and the subject of the picture.
Six, the position of the foreground
The position of the foreground is not just in front of it, the position of the foreground in the picture is very important. The arrangement to foreground is very the knowledge that tests everybody pair of composition, dot line surface, color collocation, light and shade contrast to wait for a respect very much. For beginners, I suggest that you first consider whether the foreground should be the main body or the foil, and then arrange the position of the foreground according to the principle of three-point method.
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