1. Find beautiful scenery and make dreams come true. Now it seems that it is not difficult to find beautiful scenery, but how to skillfully integrate people into the scenery requires repeated consideration. It is a good choice to make people not be "eaten" by the scene, to be prominent and not abrupt, and to be a little fun at best, and to create a sense of fantasy. By incorporating interesting elements, we can try the unique angle and posture and the "montage" effect of the picture, break the routine and create a dream.
Example 1: Blend unique elements into the big scene to form a fantastic atmosphere.
This is Montmartre Heights in the north of Paris, overlooking the whole city of Paris. At that time, the famous fancy football artist Iya Traoré was performing. I found it particularly interesting and wanted him to appear in my picture. Out of respect, I have obtained my consent in advance, which can also make the other party cooperate more, so as to complete the ideal action in the shortest time and achieve the best picture effect.
Analysis of technical points:
1. It's a night and the sunset is warm and bright. In order to improve the shooting efficiency, I only used a soft frame on the left side of the picture for simple fill light.
2. Fixed position, the camera is always mounted on the tripod. After the feature film shooting is completed, the original plane position and parameters are maintained, and the 10- 15 empty lens material is shot for post-synthesis, so as to remove tourists who break through the screen.
Example 2: Try to keep dreaming posture.
This is the original stone plateau in Kansai, Japan, where mountains are stacked and jungles are dense. A rock was found at the top of the mountain, and I wanted to realize the image of "floating" here. The key point of shooting is that the angle, light and camera parameters of the open field and portrait must be highly consistent, so as to be seamless in the later synthesis.
Analysis of technical points:
1. Choose a venue to shoot an empty mirror, and keep in mind the lens focal length, shooting distance, elevation angle, natural light effect and other parameters.
2. Choose a location to shoot people, just level the ground, try to keep the background clean and convenient for matting. All parameters need to be synchronized with the empty image, so that the synthesis will be completed naturally at one time.
3. when shooting people, use two brown SirosL lights, one for the face light of the person in charge and the other for simulating the ambient light of the empty mirror.
In order to make the skirt fold naturally and elegantly, I asked someone to stand on the equipment box and shoot upside down in a low position. Pay attention to ensure that the camera angle is the same as the empty mirror.
5. Quickly select a person with one key, put this person into an empty mirror, rotate the angle to make this person lean backwards, darken the rock at the bottom of the skirt, and simulate the shadow of this person.
Second, many photographers find it difficult to shoot a grand momentum in a grand scene because of the lack of contrast. The contrast here not only refers to the contrast between light and shade, but also includes the contrast between people and the environment, dynamic and static contrast and so on. Photos of large scenes are often difficult to express dynamic trends, so we can find or create dynamic elements in the environment, and combine the shutter speed to form a contrast between reality and reality and enhance the momentum.
Example 3: Use surging waves to create dynamic and static contrast and increase the momentum of the picture.
The shooting location is located at Xiamen seaside. I found a place where I can take rocks and sea water, and at the same time, people will not be hit by waves when they stand up. I want to capture the fast-moving waves with a slow shutter to form a blurred effect. At the same time, I want to illuminate people with lights and solidify the waves close to people to show my momentum. Use flowing waves and condensed waves to form a virtual contrast, and at the same time form a dynamic contrast with people, increasing the layering and richness of the picture.
Analysis of technical points:
1. The slow shutter is used to shoot the fluidity of waves, but the slow shutter will make people shake, so a relatively balanced shutter value of 0.3 seconds is selected.
2. Transparent or translucent objects such as water and crystal particles can show transparent textures under the action of backlight or side backlight. I asked my assistant to hold a brown Siros L 800w flash lamp and connect a 60× 100cm soft light cover to shine light on the waves from the rocks directly above the figure. At the same time, the soft light box moves slightly towards the characters to fill the light for them. It should be noted that because the character is closest to the light, if the flexible frame deviates too much, it will lead to overexposure of the character.
Example 4: Using the foreground of motion, we can increase the perspective and realize the dynamic and static contrast.
This was taken in front of the Sacred Heart Church in Paris. The foreground not only guides the picture, but also enhances the perspective effect. I want to catch pigeons flying with their wings by using a relatively slow shutter speed. This dynamic trend can form an excellent dynamic and static contrast effect with quiet figures and magnificent buildings.
Analysis of technical points:
1. Put the camera on the shelf and try to raise it as high as possible, because people are standing on higher steps. The higher the plane position, the smaller the deformation of the rear building.
2. The background is already a symmetrical composition, so let the center of gravity of the characters deviate from the central axis of the picture, and at the same time pull back the balance with the skirt, because the absolutely symmetrical picture often appears too formal and mediocre.
3. The shutter speed should be moderate to ensure that most flying pigeons are clear.
4. Pigeons in the foreground depend on the synthesis of a large number of shooting materials, because the flight trajectory of pigeons is difficult to control. After the person shooting is completed, 5- 10 pigeons are shot without moving the camera and lighting or changing the shooting parameters, and kept as post-production materials.
3. Dance the most magnificent soul with the softest yarn. The wedding dress, veil and other modeling elements made of light and soft yarn and satin are very suitable for flying and dancing in a relatively simple and empty environment, which will make the original monotonous picture present a gentle and dignified momentum.
Example 5: Let the veil fly, feminine and gorgeous coexist.
This was taken in an active volcano in Hokkaido, Japan. It was in pure natural light at night, when the wind was very strong. The veil looks beautiful when it floats. The light before sunset is very dramatic, and sometimes it seems stiff and redundant to fill the light with a flash. At this time, catering to the light level of natural light can achieve perfect results.
Analysis of technical points:
1. Learn some natural geography knowledge and know the wind direction and light in advance.
2. Try to find the backlight and side backlight angles, so that the texture of the veil will be better.
Example 6: Make a composition with soft silks and satins to create momentum.
It was shot in a space with almost no elements. I want to use red satin to create a color theme, and at the same time, with the light, it will increase the sense of space and rhythm of the picture. The essence of light distribution is to control the light, let the flash illuminate what should be illuminated, and at the same time ensure that the light does not affect those subjects that should not be illuminated, so that light and shade can be measured and focused.
Analysis of technical points:
1. Put a 30× 180mm strip soft box behind the left and right background, facing the camera, and add a 40-degree angle grating to ensure that they can brighten the cloth without affecting the characters.
2. Characters use 150mm octagonal soft box and 40-degree angle grating to ensure that the key points illuminate the characters without making the cloth too bright.
3. Frame composition is a common composition technique, but most photographers only stay in the Y-axis frame structure. I built a frame on the Z axis with flying silks and satins, which made the picture more perspective and layered.
Four assistants are responsible for shaking the silks and satins on both sides until the desired effect is achieved.
Fourth, use late means to realize interesting ideas. In fact, the later stage is the second, and the idea is the first. A good idea, a seemingly complicated picture, can only be realized by extremely simple late means. There is no complicated later stage, only unexpected creativity.
Example 7: One-time "Crossing"
I want to shoot a sense of crossing, that is, the unique artistic conception in which you have me and I have you. So I put two girls with different figures in the same picture, and put a black flag in the middle, which lights up separately and does not affect each other. I choose direct shooting instead of composition. The advantage is that I can control the composition, posture and line of sight at a glance to achieve the best balance of the picture.
Analysis of technical points:
1. A double-sided black flag cloth is set between the two figures to block the light, so as to ensure that the light emitted by the two soft boxes will not penetrate to the opposite side and affect the other person.
2. The left and right sides 150mm octagonal soft boxes are used to polish the front of the characters. The box should be as close to people as possible to obtain more light attenuation and form a more obvious transition between light and shade.
3. In the later stage, the effect of fragment color block is made in the black field between the two people to realize image crossing.
Example 8: Combination of 2D and 3D Elements
I want to create a picture that blends the characters into China's ink painting without losing the three-dimensional sense of the photographic picture. So I highlighted the level of ink painting, let it shuttle around the characters, and strengthen the perspective and layering. Before shooting, the ink was synthesized in the later stage, and the surrounding light from back to front can best show the lines and lines after the ink is dissolved in water, so it is necessary to cater to the light effect of the ink material when shooting people in the early stage.
Analysis of technical points:
1. Characters and ink materials do not use the same focal length. Because the size difference between the two subjects is too big, a macro lens with twice the focal length of the person is used in the material part.
2. Use a set of two lights, and light up six lights at the back and left and right of the studio respectively. Let the reflection on the wall illuminate the characters. But this kind of scattered light around will make the characters look flat and have no three-dimensional effect. So in the light output control, back, left and right, from high to low, are separated by two apertures.
5. Let everyone who can fly fly. An important way to create the momentum of the picture is to add dynamic elements. Sometimes the scene itself lacks dynamic objects. At this time, we can use some controllable elements, such as water droplets, smoke or powdery substances, to create a dynamic potential. With certain lighting effects and characters' postures, we can achieve the goal of creating a powerful picture gas field.
Example 9: Rotating flying sand
Analysis of technical points:
1. Classic straight play. There is a big soft box on the left side of the picture to illuminate people and sand, because sand is not transparent particles, and the color can't come out from the backlight point of view.
2. The golden sands in the lower body of the character were thrown out by two mineral water bottles in her hand when she was dancing.
3. The sands on the back and chest of the characters are made of synthetic materials. The assistant next to him is responsible for throwing the Jinsha out and shooting it several times until he can choose the right material.
Example 10: Bright splash
Analysis of technical points:
1. Buckets, cans, bottles, and different containers overflow in completely different states. At the same time, the size and depth of the container, as well as the strength and speed of splashing water, will directly affect the shape of the water, which needs repeated practice and testing.
2. Three assistants splash water at the same time, one of them is responsible for shouting, and the other two assistants stare at the limbs of the shouting assistants to judge the timing of splashing water, instead of simply listening to instructions with their ears. It is difficult to ensure that three people are completely synchronized by listening with their ears.
3. Try to choose a dark background when shooting, which will make the water more obvious after receiving light.
Example 1 1: dancing smoke
Analysis of technical points:
1. At the same time, six colored cigarette cakes are lit around the characters, which are scattered far and near. Before ignition, it is necessary to judge the wind direction in advance to ensure that the smoke will not run out of the shooting range.
2. Strong light can best show the contrast and high saturation of the subject. Here, we use Brownmove outdoor racket box and Para88, and adjust Para88 to the focal position to move the light quality to the maximum extent.
Example 12: flying sand
Analysis of technical points:
1. It is said that the shooting is not good enough because the distance is not close enough. At wide angle, the feeling of close combat is the most effective way to show the tension of the picture. Wide-angle lens has unique imaging characteristics ―― wide field of vision, exaggerated foreground, edge deformation and strong perspective.
2. Design a dynamic foreground near the lens. After the fluid is fixed, the dynamic performance often has vivid pictures. This kind of photo has a lot of luck. Usually, the closer you move an object to the camera lens, the better the effect, but please be careful with your camera.
3. Two lights, the light on the left side of the lens illuminates the sand spilled, and the light on the right side mainly illuminates the role, shapes the role, and also illuminates the sand kicked by the role itself.
4. Unique composition techniques can also increase the motion of the picture.