About basic knowledge
Fundamentals of landscape photography
Find a sister/man who supports you.
Landscape photography is very hard, and many times you can only go alone or with friends. If you have a partner, her/his support is very important, and I am grateful to have such a partner.
1. The importance of light
If you think that you can't take beautiful photos because A. your equipment is not good enough B. your post-PS is not good enough C. your photography skills are not good enough, then these ideas are probably wrong. Many people's first reaction when they see beautiful photos is "Is your photo PS", "The color is really good", or "Why can't I get the effect of other people's photos" and "The places I have been to are not as beautiful as photos".
In fact, the biggest difference between landscape photos and ordinary travel photos is not the other, but the light. The most important thing in landscape photography is good light, and good light is usually within one hour before and after sunset, which is the so-called golden hour. It can be said that 80% or even more excellent landscape photography works were completed during this period. No matter how awesome the scenery is, when you meet the pale sunshine at noon, what comes out of the camera is often "photos of a visit here."
So the next time you feel "Why are those photos more beautiful than what you saw", try to wait for the warm sunshine or gorgeous sunset glow in the sunset, and maybe you will have the answer.
Get up early, full of longing for darkness.
If you realize the importance of light, maybe you will say, "I've been there, but I haven't met good light." I'm sorry, good light didn't come, but it did. It is difficult to meet good light when going back to the hotel to play cards and watch movies in broad daylight.
Since the best light is at sunrise and sunset, this means that if you want to make a good movie, you must get up before sunrise and go home after sunset. Sunset may be good for many people, but getting up early at sunrise is terrible for many people. If winter is fine, summer is a painful season for photographers. They always get up at 4 o'clock at sunrise and go down the mountain at 8 or 9 in the evening. Whether you can do it or not depends on your determination, but it is also a good measure. If you don't have the determination to endure hardship, I can say with certainty that you can't walk on landscape photography.
Depend on the weather for food.
It is not enough to have determination and perseverance. Landscape photography is a business of watching the weather and eating. Whether the weather is good or not determines the quality of the light and the quality of the photos. It is not uncommon to wait outside for a morning or night and get nothing.
Therefore, when to take a photo is best asked by the university. For example, the coastline of the San Francisco Bay Area is foggy in summer. If you go to the seaside every day in summer, it may be useless. For the weather, at first you may think that sunny days are good weather and cloudy days are bad weather. Actually, it's not. Pure sunny days mean that the light will be yellow and there is no content in the sky, which is not a good thing for many subjects such as coastal and lake photography. Continuous rain is certainly not good, but the heavy rain that comes and goes often means changes. If some sunlight can be scattered at sunrise and sunset, the light will be spectacular. Generally speaking, as long as the clouds are not too thick, there will always be a glow, which is the best situation in most scenes.
About shooting
1. Shoot wherever you want.
Many people ask me how I know so many places I have photographed. Actually, this is not easy to answer. Generally speaking, this piece about the shooting location is slowly accumulating. For the concept of big scenic spots, such as so-and-so park and so-and-so coast, it is not difficult to find these places. Generally speaking, it is the same as understanding tourist attractions. You can get a lot of information from the internet, books and even friends around you.
But where to shoot in the park is not available on many travel-related information websites and books. I usually use the world map in Flickr Explore to search for works on 500px to accumulate information, that is, to determine the place to go, and search for excellent works on these online maps or entries. This method may be limited to North America, Europe and Australia should be similar, but it is not clear whether China has similar resources.
Of course, I will also read some photography instruction books. For example, Southwest Photography is an excellent series, which introduces the shooting locations in Utah, Arizona, Colorado and New Mexico in considerable detail.
Write a composition
Compared with other photographic subjects, landscape photography is doomed to imitate other people's composition in many cases. There is a reason for a photography classic, and I don't think it is necessary to avoid it.
I never shy away from classics. In fact, 80% of my photo compositions are found in other works on the Internet, sometimes by accident, and more often by imitation. On the other hand, imitation before innovation is a reasonable way to reduce costs. When you have photographed some classic places, start to go to other places that you seldom go to.
There are many ways to write a composition, such as dichotomy, for example, composition is subtraction, which can be found online. However, the concept of scenery is still worth mentioning (it seems that I invented it myself), because it is often overlooked when I first come into contact with the scenery.
Landscape photography is mainly wide angle. Wide-angle photos can cover many things. Sometimes, in order to avoid the monotonous picture and too few elements, the background should be used reasonably. If the subject of a photo is a vision, it is good that the vision is well-defined, but if the level is not clear or the elements are monotonous, the vision is often the necessary background. A bunch of flowers, a stone and a dead wood can often play a very good role in setting off or even making the finishing point under wide-angle magnification. On the contrary, if the foreground is a photo of the subject, a good foreground background is also important.
expose
How to measure light reasonably? The answer in the digital age is quite simple: just look at the histogram, first automatically expose one to ensure that there will be no dead white or black, and if there is, increase the compensation accordingly.
As for the aperture shutter, I usually use A file. Set the aperture at about F 1 1-F 16, and then automatically calculate the shutter. It's another matter to photograph the starry sky and the current. If you need to consider the shutter speed, you need to adjust the aperture and ISO accordingly. At these times, M files are often used.
In peripheral exposure, the spacing is generally above 1, and I seldom use 0.3 or 0.7. If the object moves when the exposure is surrounded by strong wind, then the aperture or ISO should be sacrificed to make the shutter faster. This part is actually very general, so I won't say much. I put the matters needing attention in shooting various subjects in the last part. Regarding the peripheral exposure, I put it in the part of synthesis after exposure.
About equipment
1. cameras and lenses
I actually pay little attention to cameras and lenses. The requirements for cameras and lenses in landscape photography are actually very simple (not to say that the price is not expensive, but that you won't have too many choices).
From the just-started D90 to the full-size D800, I actually didn't have any problems when choosing the camera and lens, and I didn't ask anyone. For beginners, the mid-range SLR like D90 is actually quite enough, and I am confident to go to the full range when necessary.
For the lens, in addition to the medium focus, the wide angle is also necessary, and the telephoto is based on personal shooting habits. As for which shot to choose, it's entirely up to you, and the cheap one may not be impossible. For example, I use 16-35 for wide angle, which is the cheapest in Nikon wide angle. I also know that Canon's 17-40 is actually very good and cost-effective. Starlight and aperture don't need to go 16-35. Generally speaking, if you think the photos are not good, you should find fault with yourself first, and then with the camera and lens.
Step 2: Filter
Scenery filters are essential. Generally speaking, there are three kinds:
1). Polarizer CPL can eliminate the reflection of water, enhance the color of the sky, and so on.
2). The function of the medium gray filter ND is relatively limited, but it is generally necessary when it comes to the flowing water coast. Many times it is also used to expose clouds in the sky for a long time. Personally, it is more practical to use the fourth gear (1.2).
3) The medium gray gradient filter GND is a magical thing, which reduces the contrast between the top and bottom of the picture. It can be said that this thing is the core equipment of landscape photography in the past.
Although the post-technology can completely replace the medium gray gradient in theory, in fact, the boundary line of composition is often not too complicated, and it is more convenient to use the filter, which saves a lot of post-work, so I always take it with me. Generally, the second gear (0.6) and the third gear (0.9) are more practical, and the different themes of soft edge and hard edge have different needs, which are generally needed.
According to my own experience, GND and ND must be plug-ins. For CPL, it is best to have both plug-in and ring-mounting, which is convenient. When only CPL is used, it is sometimes unnecessary to wear a filter holder. As for filter brands, LEE and Singh-Ray are the best plug-in brands. If economic conditions permit, try to go to these two brands. If you try it at first, you can consider Hitech and Cokins. CPL with ring can consider b+w.
3. Tripods and others
A tripod is as important as a tripod. At first, you bought a shelf in 30 yuan. After using it for a while, you thought it was too bad, but you couldn't bear to buy an expensive one, so you bought a 100 shelf. After using it for a while, you thought the camera would nod, so you bought a 200,300 shelf. Finally, you find that 500, 600 yuan's is better. This is a story that I have read too much on the Internet. This is a product that you get what you pay for. Just go directly to the best.
If you have economic strength, you can directly put it on the shelves of Gitzo and Yuntai Markins or really suitable goods. You really don't want to spend money. Shelves and pan/tilt should be at least Manfuto level. 100 yuan shelves will eventually be replaced, believe me. The most important considerations for shelves: weight, unfolded height and folded length. Generally speaking, carbon fiber is not particularly heavy. The expanded height plus the tripod head and camera, the viewfinder should be at the same height as the eyes. The folded length must be less than four sections, but the stability is not good. Four sections can be put in the boarding trunk, not three (of course, I can remove the middle shaft of my shelf and put it obliquely into the box).
4. Equipment, prices and decisions
In fact, I encourage everyone to buy equipment, unless the economic conditions permit, and on this premise: you are determined to spend time and energy to take good pictures. Photography products are generally worth a penny. Now we are using Lee's filter, Gitzo shelf and Markins Yuntai. I feel good. I often go out. I don't complain that these things are easy to use and can be used for a long time, so I don't think I'm wasting money. If you feel that you are not determined enough, just tinkering and trying to pat casually, there is no need to buy an expensive product line, otherwise it will be a waste of money.
About the later period
I wrote this part by asking and answering questions. It may be the part that can improve photos for most beginners, so I can do more ink, but it doesn't mean that the most important thing in the later stage, or that the most important thing in landscape photography is light.
1. exposure synthesis
Q: What is exposure synthesis?
A: The general meaning of exposure synthesis is to shoot multiple (usually three to five) different exposure compensation gears in the same picture, and then synthesize them in Photoshop later.
Q: Why exposure synthesis?
A: In order to solve the problem of large light ratio, that is to say, the light ratio of the picture makes it impossible to accommodate all the information in one exposure. For example, when you shoot a sunset, the photos must be either when the ground is bright enough or when the sky is normal and the ground is dark. Judging from the histogram, it is out of range, and there is dead black or dead white in the picture.
Q: Can't you use PS or LR to pull back with curves?
Answer: No, the photosensitive range of the camera photosensitive element is physically limited. If the negative comes out dead black or dead white, the details are completely lost, and no matter how awesome the curve is, it can't be pulled back.
Q: Do most films need exposure synthesis?
A: Generally speaking, a single exposure is enough, so there is no need for exposure synthesis. If you think a part of the picture is bright or dark, you can adjust the brightness contrast of the part (which will be discussed later).
Q: How should exposure synthesis revolve around exposure?
A: The simple method is to use the BKT+ continuous shooting on the camera to select the exposure interval and the number of attached sheets. I usually use +/- 1 for spacing, but I feel that 0.7 and 0.3 are not obvious. The manual control method is to accurately expose the dark part of the picture first, and then adjust the shutter by yourself to reduce it bit by bit. Generally, the spacing is also 1, until the brightest place in the last picture will not die in vain. Anyway, remember that the principle is that the brightest picture has no dead black part and the darkest picture has no dead white part. See if the histogram is dead black and white.
Q: What's the difference between this exposure synthesis and HDR?
Answer: First, correct a concept, HDR = high dynamic range, that is, high dynamic range, that is, the popular highlight ratio, Gao Fancha. Only HDR is used to refer to HDR images automatically generated by later tools. Tool HDR is also synthesized by multiple exposures, but it often looks ugly, dirty and distorted when acting on each pixel (some people will like it, well, it can only be said that aesthetics is not in a plane). Exposure synthesis is actually HDR, but it is a selective HDR. People choose the appropriate exposure of different parts of the picture. In the case of good processing, the image will appear natural and true to human eyes.
Q: How should it be synthesized later?
A: Simply put, all the previously exposed negatives are stacked layer by layer in Photoshop, and then the appropriate exposed parts are erased for each negative. That's it. Yes, this synthesis is simple to say and may be complicated to do. It can be said that the core of synthesis lies in the mask, and how to create a reasonable mask for each exposure is a technology and an art. Generally speaking, it is enough to brush the mask with a brush, but what kind of brushwork, transparency and brushing method are all exquisite. In addition, photometric masking is a very powerful masking technology produced in recent years.
Q: What is depth of field synthesis?
A: If you want to put the foreground very close when composing a composition, then even if the aperture is smaller, the depth of field may not be enough. Therefore, similar to exposure synthesis, it is necessary to take negatives with different depth of field, foreground, intermediate scene and background and then synthesize them later. Friendly reminder: you need to align the layers first when composing, because the pictures with different depth of field are not consistent.
2. Brightness mask
Q: What is a photometric mask?
A: Simply put, it is to create a mask with the brightness of the picture, and the mask will only act on some brightness parts of the picture. Such synthesis and local adjustment can make the mask act on the part that only wants to act. The mask created by combining luminosity and brush can be very powerful. For example, in a picture of a forest with a large Zhang Guangzhao, the backlit side of the trunk is very dark and the sunny side is very white, and two negatives are exposed around it. I want to use a brighter negative on the backlit side and a darker negative on the sunny side. Because the light and dark boundaries of forest pictures are complex and irregular, such masks are difficult to be treated with brushes, and photometric masks can be done well. Of course, this is just an example. In fact, photometric masks can be used for many purposes.
Q: How should I start studying?
A: It is recommended to be familiar with the exposure synthesis technology first, which is actually to brush the mask before starting this part.
Q: Where are the relevant resources?
A: Recommend some textbooks/videos for North American landscape photographers: Tony Cooper, Chip Philips, Zach Schnapf and Sean Bagshaw. These are some of the best landscape photographers. You can search their personal homepage, and then click the tutorial or video section to see it. Briefly talk about the differences between several textbooks. Tony Kuper has a very detailed and basic written description (as if he were the pioneer of this technology), but it is really difficult to read. Sean Bagshaw has written descriptions of Tony Cooper, and there are very detailed videos about luminosity, as well as various other videos. The video of his home is quite complete, but I haven't seen it. Zack Schnepf has a video about exposure synthesis and photometric masking, and I started with his video. His style is very rigorous, and the photometric mask is not as detailed as Sean's, but it is enough for people with mask foundation. Chip Philips's video is richer than Zack's, but it is not so detailed about photometric masking and synthesis. In addition to photometric masking and composition, Zack and Chip also talked about the local adjustment of the picture, the thinning of the selection, the sharpening and output of the picture. Sean's videos are divided into several, each with its own emphasis.
Q: Why pay for these videos? Can you lend them and copy them?
A: I encourage you to buy here. After all, these are the efforts of photographers, and they are first-class landscape photographers in North America. It's nothing to spend some money to learn some skills from them. If you plagiarize, it is no different from piracy. I introduced it here, and I hope that everyone will consciously not spread it widely after buying it, let alone take it out for appreciation. Landscape photographer is a very hard job for photographers, and it is not easy to make money. I hope everyone, as landscape lovers, can care about each other and respect their own labor achievements.
3. Local adjustment
Q: Is the effect of my film composition still insufficient/how should I adjust a single film?
A: In addition to synthesis, masking technology is also used for local adjustment. That is to say, curve/gray/color balance adjustment layers are created on the negative, and then the ranges of these layers are constrained by masks. In fact, compared with exposure synthesis, I think this part is more important for improving the picture. Adjustments made in this way are more flexible and powerful than those in Lightroom.
Q: How to make local adjustments?
A: My personal idea is to adjust the contrast between light and shade first, and then adjust the color. Contrast between light and shade is based on the elements of the picture, such as darkening the sky, creating a layer to create a mask, highlighting the stones in the middle scene, improving the overall contrast and so on. Adjusting the contrast between light and shade is usually done with curves or color gradation layers. Tone color is similar, I usually use photo filter, color balance and hue/saturation, natural saturation layer. In fact, every step of every photo is based on feelings, so I don't want to say much.
Q: How to adjust it to look good?
A: Actually, it depends on everyone's later style. There is no fixed method. In fact, I tried my best to take photos with Chip and Zach style. At home, you can see Hu Yiming and Yaner on the painting bug. In short, this style is the direction I appreciate and move forward. Recently, however, more and more people find that they have insufficient control over color. The color is too heavy and unnatural, and the color temperature is too high. Keep working hard.
4. About Lightroom and workflow
Q: You see, most of the work you introduced was done by PS. Where's Lightroom?
A: Lightroom is generally used for photo management. In addition, there will be some fine-tuning before the picture enters Photoshop, such as changing the color temperature, eliminating highlights and noise, but they are all minor changes, just laying a good foundation for the negative.
Q: Besides comprehensive and local regulation, what else needs to be done later?
A: My workflow is generally Lightroom fine-tuning-> Exposure synthesis (if there are multiple)-> Local contrast adjustment->; Overall contrast adjustment->; Local color adjustment->; Overall color adjustment->; Refine the texture (if necessary)->; Orton effect or other effects (I don't know how to translate this if necessary, see Chip's video)-> Change the size of the picture and sharpen it-> Output.
Generally speaking, my synthesis process refers to Zack's style, and the whole process refers to Chip's style. There is no fixed method in the later stage, especially the part of contrast color adjustment, but we should develop good habits and establish a stable and reasonable workflow in the whole process.
On various topics
Many things in landscape photography are the same, such as small aperture most of the time, but different subjects pay different attention to different places.
1. Galaxies and stellar orbits:
This is a complex subject, but it is not difficult to get started. It's easy to simply shoot the stars. After reading one or two introductory posts, you can shoot. For example, my first shot of stellar orbits and galaxies was quite successful. But the key is how to arrange the right scenery in the foreground and achieve the right brightness (moonlight or light painting), which requires some experience.
2. Waterfalls and running water
Waterfalls are easier said than done. It's easy to say because the water flow effect needs to be photographed, and a neutral gray filter and polarizer are enough. It's hard to say that this theme is best shot on cloudy days, but generally everyone is very similar. It is not so easy to meet interesting light in the Woods and control it well.
3. Snow-covered mountains
Because mountains often occupy a large number of pictures, the weather requirements are relatively low, and the effect of light shining on mountains in the morning and evening is generally not particularly bad. The key is that the shape of the mountain and the snow itself should be special enough to attract attention.
4. Lake
In fact, lakes are generally not the subject of photos, and there is nothing special about simple lakes. Generally, there are peaks to set off reflections, or objects at the bottom can be seen in clear water, or there are special scenery. These lakes are worth shooting.
5. Wild flowers
It doesn't mean close-up and macro shooting, but the feeling of filming. Generally, it is best to have a beautiful background, such as mountains or cloudy sky, and wild flowers are undoubtedly the foreground. Depending on the specific situation, you can shoot a cluster at close range or a whole film at a long distance.
6. City night view
This is also very easy to shoot, just find the right place, but although it is a night scene, in fact, the light is usually the best the day before sunrise or after sunset, and it is much brighter than the all-black sky.
7. Woods
This theme is not easy to shoot, but it is easy to shoot on cloudy days, and it can't produce excellent results. There is a great contrast in sunny days, and it will be a little more complicated later, but it is better to wait until about two hours after sunrise, and the light is better before sunset, so I won't say much.
8. Coast
Yes, I was inspired by photographing the coast, but I still think the coast is the most difficult to photograph. First, there should be a suitable stone as the foreground, and secondly, blinds should be used to control the water flow. Third, many times, because the composition should be close enough to the sea, it means getting wet to prevent the lens from getting wet by water vapor. The most important time is that the composition of the sky will account for more than 1/3. If the sunny day is dull, you need to wait for good light.