For me, landscape photography is precisely shooting the natural landscape. There are many rules for taking landscape photographs, many manuals, textbooks, but you cannot start shooting landscapes only after studying them. You first need to get carried away with landscape photography, and then, evaluating, drawing conclusions, finding new techniques and adjusting the results, you can turn to the experience of fellow landscape photographers, not only photographers, but also artists. The artist creates an ideal composition, spending a lot of time, the photographer’s task is not to lose it in a relatively short time, since, being carried away by creating more and more new frames, it is very easy to lose the meaning of the photograph. What is this meaning? In my opinion, the meaning landscape photography to convey what made the photographer focus on this particular subject - beauty, harmony, which must be preserved even when adding a creative touch to the photograph.

Near the village of Popovka. Saratov district. Post-processing of the color of the photograph makes it close in style to the works of the artist I.I. Shishkin. The composition and color tones of the photograph help achieve this stylization. Sony A300, 10mm, F8, 1/200 second. Gradient filter. Tripod.

And this handwriting can be completely different. Remember the works of the great Shishkin and Aivazovsky. These are completely different artists, with different, completely different styles. However, both Shishkin, with his beauty almost documented by nature, and Aivazovsky, with his fantastic amber-emerald waves of the Black Sea, were able to put the greatest meaning into their creations, which can now influence the viewer’s mood and evoke various emotions. A real landscape painter does not even need to know the laws of composition and the concept of the golden ratio. All this, even without knowledge, is reflected in his paintings. Likewise, when I was already photographing landscapes with all my might, I didn’t even know these concepts, but these laws were embedded in my photographs. Nature must be felt, and not a single landscape painter will refute this, since I very much doubt that anyone took up practice only after studying the theory. And not so long ago, when people still had the Internet and video tutorials, many simply could not know these rules, but they applied them. And more about them later...

Now I would like to start with the first questions. Namely - which one. There should be no questions about cameras - almost any camera is suitable for landscapes. For those who are interested in landscape photography, it is advisable that the light sensitivity of the camera matrix starts from about one hundred units, which in this genre almost never change, since the highest demands are placed on landscape technical requirements- minimum noise, maximum details. In general, you shouldn’t focus on the camera. My landscapes were shot on a Sony Alpha 450 and alpha 300.

A little more attention should be paid to the choice of lens, and not so much to its technical properties and aperture ratio, but to the focal length. Everyone chooses the technical properties according to their goals - whether they are shooting for their collection, printing calendars, or perhaps meter-long banners, or demonstrating works on the Internet with a resolution of 1.5 megapixels. There are several points of view regarding focal length in landscape photography. Some say that 35mm would be ideal (24mm for APS-C ), some say 24mm (16mm), while others like to shoot at even wider angles, such as 14-18mm (10-12mm). In this case, we do not mean an equivalent focal length, but to obtain approximately the same viewing angle. So, if we need one viewing angle on full frame and crop, we need to take a 24mm lens for full frame and 16mm for crop( APS-C).

The debate about focal length for landscape is equal to the debate about the choice of camera manufacturer. The meaning is whatever you like. There is such a point of view that when we admire a landscape and we have a desire to photograph it, some detail inscribed in the landscape is responsible for this, and not the entire composition. Thus, if we want to convey what we saw, we need to finish the frame only with this detail, building the composition on it. Perhaps, but not always. Adherents of this theory are close to the focal lengths of fifty dollars and a 35mm lens.

Rock of Stepan Razin. On the left is a photo taken with a 10mm wide-angle lens, on the right - with a 75mm telephoto. In this case, it is more advantageous to show the rock using a telephoto lens.

There is another theory, the opposite - the composition of the landscape should include the widest picture. Yes, instantly we can only look point-by-point (in general, this statement is only true for men, who doesn’t know - women’s vision has a different character), but the speed of perception is enormous, and in moments we can examine the whole picture, and not just one of its details. I personally am a supporter of the latter theory, and wide-angle lenses are closer to me in landscape photography.

Popovka. A wide angle (10mm crop) allows you to convey the space and volume of the natural landscape.

These theories are opposite, but not mutually exclusive. It all depends on our taste and the meaning we want to put into the photograph. A wide angle can convey space, a narrow angle can convey scale. Perhaps it all lies in the psychology of perception and needs. But, in any case, when photographing mountains, for example, we try to convey their scale and grandeur rather than space, and for this it makes more sense to use a long lens, and the width angle can be preserved by creating a horizontal panorama from several frames. If you shoot mountains from the plain, that is, not in the mountains directly, but where the mountains form the background, at a wide angle, then their size will become insignificant relative to the frame as a whole. When shooting directly into the mountains, you can also use wide angles to show the vast spaces between the peaks.

Rock of Stepan Razin. Datura Mountain. When shooting a mountain at a wide angle (20mm), we can easily lose its size against the wide background of the surrounding area.

Rock of Stepan Razin. Datura Mountain. A telephoto lens (75mm) will help convey the scale, namely the height of the mountain. Panorama of four vertical frames.

When photographing the steppe, fields, meadows, on the contrary, it is better to shoot with a width that conveys space. A telephoto lens will make the plain flat; it will not only bring any object closer, but also reduce the space. In width, the frame can capture the smallest amount of space, and in depth, everything that exists right up to the horizon, and tens of kilometers of real space will be compressed into airless layers in the photo, and the foreground will most likely be completely lost.

Popovka. A landscape shot with a telephoto lens will most likely be very flat, with many layers up to the horizon compressed tightly and forming stripes. The horizontal distance in the village will be only a few hundred meters, and the distance to the horizon will be tens of kilometers.

The composition depends only on the author’s vision, and in each case it can be complete. Don't think in templates.

Lines in the frame play an important role. With their help, space is conveyed. Lines in photography can be roads, power lines, forest plantations, edges of ravines or hillsides. The eye clings to the lines, and with them it is directed either to semantic centers or into space. So, if there is a road leading into the distance in the frame, the eye will certainly follow it, and the more the road twists, the more interesting the plot.

Volsk. Osinovka. It is very easy to find the center of attention in the photo. Your gaze will immediately follow the road into the distance. Lines of clouds and lines of electric poles will appear in this same place. The road here has many lines - ruts, tracks, grass on the side of the road, and all the lines gravitate towards the center. The influence of lines is enhanced by a wide shooting angle (10mm).

Let’s imagine that the road passes horizontally through the frame, what will happen in this case. But nothing, just glancing at the image, the consciousness begins to follow the road, and instantly goes beyond the boundaries of the frame. Therefore, landscape painters instinctively depict a road going into the distance, rather than leading the eye beyond the frame. The more lines follow in one direction, the better the rhythm is visible. The composition should not only capture the eye, but also hold it. It is best to place completed geometric shapes in the frame for this purpose.

Popovka. The dam has the appearance of a finished geometric figure, which will help keep the eye within its framework.

Now about the golden ratio. For a long time I myself did not hear about this concept, since I did not study at an art school, did not read manuals for landscape painters, and did not watch video tutorials either. However, I have always understood that in a traditional landscape the sky should take up 2/3 of the image and the ground should take up 1/3. This creates a feeling of freedom, but if you leave 1/3 to the sky, it will immediately begin to put pressure on the composition. TV people even have an application for this science - Western TV channels film reports in Russia, actively using the rule of thirds - the golden ratio. Leaving 1/3 to the sky, they create pressure on the subconscious, while including dirt, garbage, dogs, etc. in the frame. And if, in addition, you shoot from approximately waist height, you can create such a feeling of alienation that you immediately want to run away from here. If you don’t believe me, turn on their channel and wait for the report. Although if the sky takes up 1/3 of the picture, the bottom third is occupied by the earth, and the central third is occupied by forests or mountains, the composition will turn out quite normal. Learn to influence the viewer.

A true landscape painter sees composition. It also gives the painting weight, so it is important to leave the composition in balance. Let's say we're filming a field and a tree standing alone in it. How we build the composition. The sky, of course, will take up 2/3 of the space. The field is the lower third, and if there are hills or mountains, or a forest in the distance, we will send them to the sky. Where should we place the tree? Let's try in the center and the photo will become too heavy. And if you place it a third to the right or left, the composition will acquire balance; move it a little closer to the edge, and the composition begins to gravitate to the side, immediately creating a feeling as if the horizon is blocked. If a strong wind blows from the left and bends the branches to the right, then we can place the tree only a third to the left, so that there is room in the frame for movement, in this case the wind. Or if the tree trunk is inclined to the left, then it is more correct to place the tree a third to the right. The tilt of the tree trunks in the photograph symbolizes dynamics, since in our minds we complete the movement in the frame.

Let's look at an example using a simple composition:

We move the ground up by a third, and the image becomes more “comfortable” for us. However, the tree located in the center still weighs on the perception.

By moving the tree to the left third, we get an image that just wants to fall to the left. There can be no comfortable viewing.

By placing the tree in the right third, we get a blockage to the right, which seems even larger due to the bending of the trunk.

By placing the tree between the center and the left third, we get an almost ideal composition, but let’s check how the tree will look to the right of the center:

And in this case, the composition seems even more harmonious. There is space left on the left - air. We are used to reading from left to right, and we also read images in the same way. Therefore, in movement we come to the center of attention - the tree. Under normal conditions, a trunk bent to the right could work against this composition, but in our case, the entire tree has the outline of the number “9”, and the position of the crown compensates for the obstruction of the trunk.

There are rules for constructing a composition, but it is not necessary to memorize them. It is only important to know that a good composition is one in which viewing the image becomes comfortable and keeps the viewer's eye within the frame of the photograph.

Now regarding the technical side of the issue. As I already mentioned, the wide-angle lens I most often use when shooting landscapes is a 10-20mm sigma. The optimal aperture value for landscape photography is F 8. With a larger value, the resolution of the lens decreases, with smaller values, sharpness at the edges is lost. For almost all systems F 8 is optimal.

Often an attribute for landscape photography is a tripod - to avoid movement, which is especially noticeable at high resolutions. In cloudy weather, when you need to significantly increase the shutter speed, the tripod will become necessary tool. And you certainly can’t do without it if you need to take several pictures of the same place with different exposures to create HDR images.

Auxiliary tools for landscape photography are filters. Most often these are polarizing, gradient and neutral density filters. When and for what they are used.

It makes sense to use a polarizing filter in landscape photography in sunny weather. The essence of his work is the removal of reflections from non-metallic surfaces - from foliage, which makes it more saturated and bright, from the surface of water, making it absolutely transparent, and other surfaces. When using a polarizer, the sky also becomes more saturated and darkens, which allows you to clearly identify the line of clouds, which at the same time become lighter and gain volume. Many authors insist that the right time to use a polarizing filter is the post-dawn morning and pre-sunset evening, when the Sun is low above the horizon, and using it at midday is detrimental to the picture, since the darkening of the sky is uneven. Here again I don't quite agree. I often use the polarizer during the day, but not when the sky is clear, but when cumulus clouds appear on it. They allow you to divide the blue sky into parts - making the uneven polarization almost invisible. At the same time, the colors become bright and saturated, which helps make the landscape extraordinary.

Photography without a polarizing filter (left), and with a filter (right). The difference is immediately visible, the polarizer adds saturation to the photo. The blue sky is darkened, which gives it depth by drawing out the clouds. The shooting took place for half a day, at an angle of 45 degrees to the Sun - in this position the polarization filter works at its maximum.

But in the evening and morning hours I don’t feel the need for a polarizer, since here it is important to convey the natural beautiful colors of sunrise and sunset, and the strength of polarization in such light is very doubtful.

A polarizing filter is the first thing I buy after purchasing a landscape lens. I consider it an indispensable tool for a landscape photographer.

Gradient filters are used in other conditions. Gradients can be different - in the density of lightening of the dark part, in the sharpness of the transition from the light to the dark part, in shape. Most often, I use a gradient in cloudy weather to mute an overly bright sky and preserve its details, saving them from overexposure and falling out of range. The downside is that the gradient cannot follow the shape of the landscape, and the darkening turns out to be linear, that is, trees, mountains, etc. can fall into its area. Or you have to sacrifice part of the sky above the horizon.

Neutral density dark ND filters are used in order to use longer shutter speeds when equal conditions, without closing the aperture and without waiting for a darker time of day. ND A filter reduces the amount of light passing through the lens. These filters also come in different types - with varying degrees of strength and design. A filter with variable strength will be very convenient for a landscape artist. These filters are used mainly for experiments with water - filming waterfalls and surf. In this case, the flows moving over time become more similar to flows of fog than to flows of water.

Landscape photography includes a range of genres. This includes, but is not limited to, landscape, weather, astrophotography, bird and wildlife photography. Each of these categories implies the possession of relevant specialized skills and can be expanded.

If you're just starting your quest as a landscape photographer, here are a few things to consider:

1) What do you want to photograph?

Because nature photography is so broad, you can spend a lot of time in each subgenre. So you have to ask yourself an important question - what do you want to photograph? Do you want to take close-up photos of plants and insects? Do you love the natural world in macro or are you more fascinated by magnificent mountain ranges and lakes?

Perhaps you more interesting than a bird and larger animals than sunsets and sunrises. Understanding what you like and want to photograph is a great first step.

2) What equipment will you need?

Once you know what you want to photograph, you will know what equipment you need. If you're shooting landscapes, wide-angle lenses are useful, while for wildlife and birds, a zoom or telephoto lens is a good choice.

A tripod is great for landscapes and astrophotography, but if you're trying to photograph a bird in flight or an animal in motion, then knowing how to use your camera will be your most valuable asset.

3) Location and planning

The choice of place and time of day, as well as the time of year, depends on what you want to photograph. Survey the location beforehand to see the direction of light, any potential safety issues, or landscape features. Then return to the best time of day for your photo shoot.

If you're photographing flowers, pay attention to the time of year they bloom. To photograph birds, you need to understand a little about their habitat and the time of day they are active. If you want to photograph more dangerous wildlife, it's best to go with someone experienced.

The national park is a wonderful place for scenery and wildlife. Please note that you may need to apply for special permits to film in some parks and that these also have seasonal or time restrictions in some areas. This has implications for your planning if shooting time is a constraint.

4) Reading the light

As with the previous tip, the direction of the light can be determined by visiting your location first. You can also do online research about the area or transcribe it from other photographs taken in the area.

If you're shooting landscapes, arrive about an hour before sunrise/sunset and get ready to shoot. This way you can focus on your composition and maybe even take a few test shots. Play with white balance, exposures, and different camera angles.

If you are waiting for wild animals to appear, use this time to correct settings cameras. When the animal appears, you must be prepared to photograph constantly, trying to capture the perfect moment.

Shooting closer objects or flowers gives you more time to experiment, but make sure the light isn't flat. Bring a reflector or try to find angles that give you shadow, shape and dimension.

Conclusion

Nature photography is not only vast, but also filled with interesting subgenres and subjects to photograph. For beginners, in most cases it is better to do some preliminary research before shooting. The more you learn about your subject and how best to photograph it, the better you will be at doing so.

When it comes to wildlife, patience is a great help as you will need more time to observe. If you love nature, this is great way to study and preserve these fleeting moments. Decide what you want to photograph. Take the equipment you need. Research, plan and try to catch the best light. And above all, have fun!

36405 Improving knowledge 0

Landscape photography can be divided into several components, the main ones being landscape photography and cityscape photography. The first part of our lesson will be devoted to landscape photography.

Landscape photography is one of the most difficult and problematic areas of photography. I will say that for me, an experienced photographer, landscape photography still causes difficulties. It's not that difficult from a technical point of view - just have a tripod, a wide-angle lens and pay more attention to exposure. So what makes this type of photography so challenging?

First of all, landscape photography must be approached creatively in order to be able to capture the mood and convey it to the viewer. If the technical side of the issue can be described, then regarding the creative component of photography we can only advise - you need to develop your vision of truly unique photographs.

Equipment

Let's start with the simplest one. Which lens should you choose? Although great photos can be obtained using any lens, but it is preferable to use wide-angle lenses. They allow you to capture the space of the landscape, emphasized perspective, which adds depth to the image. If you are using a DSLR camera with an APS-C sensor, then pay attention to a wide-angle with a 10-20mm focal length; for full-frame cameras there is a choice of lenses with 12-24 mm, 16-35 mm, 17-40 mm. The zoom lens is convenient to use, however best quality Fixed focal length lenses will provide. In the EGF range, 12-24 provides a wide viewing angle, while 16-35 and 17-40 provide a significantly smaller viewing angle, but they provide less optical distortion, especially at the corners of the image. Using ultra-wide-angle and fish-eye lenses will make your photos more expressive and original. But it won’t be interesting to shoot all the frames with just a fisheye lens, so it’s good as an addition to the main lens.

When shooting landscapes, you almost always use small apertures to achieve a large depth of field: typically f/11-f/16. It is recommended to avoid very small apertures such as f/32, as this will reduce image quality due to diffraction (an effect that reduces image sharpness and contrast).

When shooting landscapes, you should only use manual focusing, especially when shooting foreground subjects close to the camera.

ISO sensitivity must be set to the lowest that the camera allows, usually ISO 100-200. It is not recommended to use the ISO 50 expansion available as an option on some cameras due to the reduced dynamic range. Shooting at ISO 100, the image will be virtually noise-free, with a wide dynamic range and excellent image quality, the sharpness of which can be improved during processing without fear of the appearance of strong noise. Shutter Speed: As you can imagine, the combination of a small aperture and low ISO will result in a fast shutter speed. Depending on the lighting, the shutter speed can be from a fraction of a second (1/250 or 1/500) to several seconds or even minutes.

If you are seriously interested in landscape photography, you should understand the need to use a tripod. A tripod is a key element in ensuring sharp, detailed photos, especially with long exposures. Moreover, a tripod allows you to carefully select and think through the composition. Using a tripod, it is possible to use a special technique that allows you to take stunning photos: at sunrise or sunset, take two shots of the same scene - the first one exposed to the sky, the second to the foreground, then combine them - you get an original shot with the widest dynamic range. When shooting handheld, it will be impossible to take two absolutely identical frames.

When shooting landscapes, it is recommended to use filters - polarizing, and . UV and protective filters are not useful as they can reduce image quality, reduce sharpness and increase the likelihood of glare. When choosing filters, it is important to consider that their use on ultra-wide-angle lenses (18 mm or less) can lead to the undesirable effect of uneven illumination of the frame and vignetting.

Preparing for shooting

Much of the success of photography depends on how well you prepare for it. You need to think carefully about what might interfere with the shoot or force you to return. The more possible nuances you take into account, the more likely you are to focus entirely on shooting. Solve organizational issues: how you will get to the shooting location and where you will stay. If you are not planning to stay overnight, you still need to think about the option of spending the night - you may not calculate the time, circumstances may change.

Dress so that your clothes and shoes do not create discomfort. Bring an umbrella or a jacket with a hood. Consider protecting your equipment in case of heavy rain. Have a flashlight at hand. However, try to get out of the forest or mountains before dark, since spending the night there is not the best the best option. Purchase a map of the area and use it to navigate objects that cannot be confused. It's also a good idea to have a compass at your disposal.

Don't forget to bring water and food with you. It is better not to go to distant and deserted places alone. Make sure there is money in your mobile phone account and its battery is fully charged. If you go by car, check the spare tire, fill the tank with gasoline, and do not drive away in a faulty car. Tell your friends and relatives where exactly you are going (travelling) and the approximate time you will return.

Before shooting, check your camera settings, battery charge, and memory card space. It is optimal to shoot in RAW with the white balance setting set to auto, then you will select the desired balance in the converter. By using different white balance settings, you can achieve more attractive color reproduction.

Light

Light is an essential element when photographing landscapes. The right light can transform even a dull subject, but the wrong light can ruin even the best scene. It's funny, but many new photographers believe that a clear sunny day and cloudless skies are great conditions for photography - but this is not true - these are the worst conditions imaginable for photographing landscapes. The best light is not bright, midday light, but the soft light of sunrise or sunset. Shadows become clear, colors are warm, rich and pleasing to the eye. Experienced photographers call this time.

It takes getting up early and staying up late to capture the landscape in this light, but the results are worth it. Sometimes, you can take fantastic photos before the sun rises - it is quite possible to take beautiful landscape photos even at night. Whenever possible, include the moon in your frame - it will make it more interesting.

If you can't or don't want to wait until sunset or sunrise, shooting at midday is another strategy for getting better lighting. If the sky is cloudless, try to exclude it from the frame as much as possible and, conversely, if the clouds form an intricate pattern, be sure to make the sky part of the composition. In this case, a polarizing filter will help emphasize the contrast between the clouds and the sky and make the colors more saturated.

Another way to get a great shot is in black and white. A photo taken even in low light can be turned into a great photo by converting it to black and white, but not all photos will benefit from desaturation. In black and white mode, frames that are rich in textures, edges and other contrasting elements clearly benefit, while others may look “flat”. In any case, do not hesitate to experiment with contrast during post-processing in a graphics editor (not in-camera!).

Midday photography, sunset or sunrise is not the only time when a photographer can take a quality photo. Even when the sky is overcast or in pouring rain, you can get a great shot. Clouds and stormy skies will add the appropriate mood to the photo and allow you to give landscapes an unusual look.

Mood

The same places can look very different. Weather, time of day and many other different factors influence the environment - it is never the same.

The two pictures show the same waterfall. The first photo was taken in the summer, on a sunny day - the waterfall is almost invisible, and the light is not very pleasant. In short, this is a typical photo taken by a typical tourist. The second photo was taken on a day when no one would have thought of visiting this waterfall. A cold autumn day, fog and rainy weather, which intensified the waterfall, filled the photo with a mood - it is mesmerizing.

Don’t be afraid to shoot in the rain or snow - professional lenses and cameras are dust- and moisture-proof (you can find this out from the description of your photographic equipment), and even if not, you can get 100% protection from humidity by purchasing a special plastic or polyethylene casing.

Using a gradient filter, reduce the brightness of an overcast, colorless sky and bring out the texture of the clouds. This will give your photo additional volume. When you include fragments of blue sky in a cloud break, the effect of a gradient filter on them will be equivalent to the effect of a polarizing filter.

Seasons

Each season brings its own gifts to photographers, so don’t put off landscape photography until your summer vacation.

SHOOTING IN AUTUMN, IN CLOUDY WEATHER
When photographing rain, you need to stop the lens down a lot in order to shoot with long exposure. In this case, the raindrops will appear in the form of stripes, which will create the impression of rainy weather in the photo. You just need to make sure that raindrops do not get on the lens. Drops will cause the image to become blurry.

Spectacular landscapes can be captured in foggy weather. The impression of fog can be enhanced by placing a mesh of rare silk fabric in front of the lens. To convey the depth of space, you need to place some dark object in the frame in the foreground.

WINTER LANDSCAPE
On bright, sunny days, the contrast of the landscape is very high, which is caused by the combination of dazzlingly bright highlights on the snow and, say, dark trees, especially conifers.

It is better to photograph a winter landscape in the morning or evening hours, when the slanting rays of the sun create elongated shadows - this enlivens the composition and well emphasizes the texture of the snow.

The snow in a winter photo should be well detailed. Therefore, when photographing a landscape in which snow takes up most of the frame, exposure is determined by measuring the brightness of the snow. If snow and dark objects in the subject are equivalent from a pictorial point of view, exposure is determined by their average brightness, but taking into account greater detail in the snow compared to dark objects.

Composition

1. Rule of thirds

Good composition is an essential part of landscape photography, but it is the most difficult task. There are a few "rules" that will help you improve your composition, but you must constantly develop a "creative" eye in order to get decent shots.

The most common mistake novice photographers make is placing the horizon line in the center of the frame - resulting in a static and unbalanced image. The first step to improving your composition is to shoot the landscape using the rule of thirds. We have already looked at it in our previous lessons on composition, but it would be useful to remind you. It's very simple - mentally divide the frame into three parts horizontally. And shoot in proportions of 1/3 foreground, 2/3 sky, or vice versa - 2/3 foreground, and 1/3 sky. In other words, create an asymmetrical composition.

Naturally, the rule of thirds will not be a panacea for all photographs, but it is worth remembering.

2. Foreground and perspective

One of the most effective ways to create a strong composition is to use a wide angle of view and place an object (a flower, a rock, etc.) in the foreground. This object, combined with the enhanced perspective of a wide-angle lens, will give a sense of depth.

The depth of field should include all objects. Therefore, it is recommended to set the aperture to f/11 or f/16.

3. Other elements of the composition

There are many elements in nature that help create an expressive composition - diagonals are the most influential of them. Use diagonal lines to draw the viewer's attention to the subject. If you take a closer look, you will see that everything around is subject to certain guidelines. Look for guidelines and try to fit them into the composition.

Patterns (repeating shapes) and textures are other elements in composition. It’s not easy to see natural patterns in nature, but different textures are often found: small particles of sand, tree bark, stones and many other interesting objects will help make the photo more interesting.

The main thing in the frame

Determine what will be the main thing in the frame. It could be a lonely tree, a rock, a mountain, a picturesque forest, a slope, or a road. Using the composition grid on the LCD screen (in the viewfinder), divide the frame into thirds and position the main subject at the intersection of the vertical and horizontal grid lines.

Try to make sure that there are three plans in the photo: foreground, middle and distant - this way the landscape will look more voluminous and the space will be better conveyed. The foreground should be drawn clearly and in detail, the background may well be blurry, hidden by atmospheric haze.

Try not to make the landscape “empty”. It is better to fill empty space if possible. In the sky, this filler can be clouds. In the foreground are bushes, tall grass, stones, leaves, branches, animals.

Don’t try to fit everything you see into one frame at once; get rid of the random and monotonous space that inexpressively fills most of the frame - water, sky, foliage. Leave only the most important, beautiful and interesting things. In the forest, look for open places.

Too thick foliage and branches create variegation, small highlights and very thick shadows that look like “black gaps” in the photograph - such pictures look worse than a carefully thought-out composition.

If you can't find the fill, crop the image to highlight a more interesting part of the landscape. You can walk a little and take different pictures - straight or at an angle, from the lowest point. Climb a hill, a slide, or any building - from there you can take a multi-dimensional spatial panoramic shot.
When choosing a plot, look for main element the landscape that will be emphasized, as well as the way in which the surroundings will emphasize and complement it. When composing the frame, make sure that the subject fits harmoniously into the plot. For example, a tree should not grow from the bottom edge of the frame - leave some space at the bottom; do not cut off the top of the mountain, leave a little “air”.

When photographing a landscape, always pay attention to the fragments, because it is not at all necessary to shoot only general plans. A careful look can highlight an interesting part of the landscape, beautiful and expressive details. But don’t get carried away with strong zooming - here you need to preserve the integrity of the fragment, otherwise the picture will look like something torn from it. general plan an abstract piece, devoid of meaning.

Panorama

Finally, practice taking panoramas. Here you should follow several rules. All future frames of your panorama should be at the same scale of the subject, so don't focus closer or farther away from it. The aperture value should be left constant. The shots need to be taken with some overlap on each other. Otherwise, due to the lack of information at the edges of the frames, the panorama stitching program will not be able to assemble the final image.

You can use your camera's bracketing feature to avoid exposure errors.

Shooting water

If you need to photograph water covered with ripples or a small wave, then it is taken with counter-lateral lighting at an angle of 35-45° to the optical axis of the lens.

Water against the light is photographed when the rays from the sun, hidden by a cloud, fall on the water, creating expressive shiny stripes. But you need to make sure that the sun does not fall into the field of view of the lens.

It is better to shoot the sea from a high point. Then the water space occupies a significant part of the frame, and the photograph turns out to be more expressive.

The surf is usually photographed from a low point with a shutter speed of at least 1/1000 s.

It is better to shoot flowing water with a short shutter speed. In this case, a slight blurring of the image occurs, which creates the impression of water movement.

Mountain landscape

In the mountains it is better to shoot early in the morning. During these hours, the air is transmitted most effectively. Cloudy weather also makes for more expressive photos.

On sunny days, the subject must be chosen with a dark foreground, the brightness of which determines the exposure. In this case, the distances will be somewhat overexposed and appear lighter in the print than the foreground, which will emphasize the depth of space and fill the landscape with a feeling of air and spaciousness.

Side lighting is considered the best, as it emphasizes the shape of the mountains, and the haze illuminated by oblique rays creates the impression of depth. When the sun is behind the camera, the image becomes flat. When taken from the front, the picture turns out to be very contrasty, details, especially in the foreground, disappear.

Photographing a mountain landscape during the day with a high sun reveals details in the image without sufficient contrast.

When determining exposure, it is necessary to take into account that with altitude in the mountains the intensity of solar illumination increases, and it takes on a different character than on the plain. With height, the brightness of the shadows decreases and the brightness of the light areas of the landscape increases. Therefore, when shooting in the distance without a foreground, the shutter speed is reduced compared to shooting on flat terrain: at an altitude of 500 m by 1/4, 1000 m by 1/2, 2000 m by 3/4, 3000 m by half.

To get highlights on the surface of the glacier, you should photograph in backlight.

The main question of the topic: how to learn to see beautiful landscapes?

A beautiful landscape is built on the fact that the plot unites everything in the frame and subordinates the environment to a common idea - the author’s thought, creating a certain mood, emotions, and conclusions in the viewer.

Good luck to you and all your photography!

Where to begin

I understand perfectly well that not all beginners can be surprised by such terminology as shutter speed, aperture, focal length. However, I still advise you to first study the “Textbook of Photography” (“Landscape” is a direct continuation of it), and at the same time refresh the terminology on the “Photo Dictionary” page, so as not to return to the explanation key concepts: this is more convenient (and more useful) than running through links and back every time. And most importantly, it is useful not only for reading how to shoot a landscape. As I understand it, you intend to take photographs, and not just read :)

Lens

You can shoot landscapes with absolutely any lens, from fisheye to long-focus. And if you only have one lens with which you get magnificent pictures, then you shouldn’t buy another one - specifically “for landscapes”. And then the text should be taken solely for reference, and not run to the store for wide optics so that “more will fit into the frame.”

In general, I advise non-professionals to shoot any subject with one lens and learn to do it in such a way that all their plans come out with a bang. For

Buying expensive optics (or a new camera) will never improve anyone’s photography skills.

And yet there are some rules that you should know. Before you start shooting landscapes, you need to choose the “right” lens from your collection (or the right focal length, if there is only one lens). For owners of point-and-shoot cameras, compact cameras and other cameras with non-replaceable optics, the question does not disappear. Their lens is firmly built into the camera, but you also need to be able to use it. Put it in the “wide angle” position; there is no need to “pull out the zoom” here. More precisely, this is not always necessary. Next, we read together with the “mirror people” how to shoot a landscape correctly :)

So, we take a wide-angle lens, or set the existing one to the minimum focal length. Wide-angle optics provide a larger viewing angle and greater sharpness and are therefore more often used for landscapes. Of course, at a medium angle and in a telephoto position (and even with a very long telephoto lens), you can also shoot landscapes with no worse results, because a lot depends on your plans. But still, landscapes are often shot at wide angles, since landscapes imply spaciousness and depth of field across the entire field (which is difficult to achieve with long-focus optics).

Let's look at all the examples using a specific (and quite budget) model: the Pentax DA 16-45 mm f/4 lens. Consider that I promoted it :), but Canon and Nikon owners should not be upset or fall into a “religious dispute”! Your technique is no worse and even better! Let's get down to business. We are now interested in the numbers on the 16-45 lens. This is the focal length. Since I have a digital SLR, and the aspect ratio of the frame (matrix) of the Pentax is approximately 1.5, we multiply 1.5 by our numbers and get an equivalent focal length (EF) of 24-68 mm. I made this recalculation so that you can compare your focal length with it. For those who don't understand: I strongly recommend that you read the Focal Length in 35mm Equivalent (EGF) again :), since only the equivalent focal length will be indicated below. As a result, we have a lens with a wide angle (everything less than 35 mm is “wide”), a small telephoto position of 68 mm and a constant aperture of f4 for different ends of the “zoom”. As you can see, this is not the most outstanding “zoom”, but its wide angle is quite decent.

What is distortion

So, we set the lens to the widest angle position, in this case it is 24 mm. Of course, you shouldn’t shoot portraits at a wide angle, since a wide-angle lens (even an expensive one!), due to its design, can (and does!) produce geometric distortions, or as they also say “distortion.” What is distortion?
This is a curvature of the image in the lens due to uneven magnification of objects from the middle of the lens (group of lenses) to its edges.

And now the same thing, but simpler: this is when straight lines look crooked, the central part of the photo protrudes, the background seems further than it actually is, and the perspective is distorted :) Why does this happen? In any lens, in general, everything is worse at the edges, there is only one consolation here - with distortion, the sharpness of the image is not impaired. Of course, in a specialized wide-angle prime, distortion is minimized, but even there it is still there.

In the image, geometric distortions are clearly visible to the naked eye; the shooting was carried out at the widest angle (EGF = 24 mm). It is especially noticeable how the house on the right is piled on its side, looking more like the Leaning Tower of Pisa than a residential building. What if he falls? :) How to shoot a landscape and live your whole life with this grief in your heart? Is distortion a flaw in a photograph? or lens? Of course, the lens is involved (and the wider the angle, the more distortion), but there are still a lot of creative questions, and no one knows the exact answer.

One thing is certain: distortion is always less of a drawback than an unsuccessfully composed frame :)

Well, to complete the experience:

The absence of distortion is always a lesser advantage than a well-composed shot :)

And already in the case of an ultra-wide-angle fish-eye lens, distortion from the category of disadvantages smoothly turns into undoubted advantages :) And in general, there are photographs where in a similar way they try to emphasize the expressiveness or dynamics of the plot. At the end, it’s worth adding: distortions in themselves are very bad :) Well, they explained... they completely confused me! - another will say. In fact, the situation is like this. Empty and deserted highway. There is no traffic light, but you need to get to the other side. Of course, you will cross - don’t wait, in fact, for the traffic lights to be installed :) but break the rules traffic- this is very bad... it’s better not to violate it! And the conclusion? And the conclusion is simple: everything comes with experience! :)

To reduce distortion, or vice versa, increase its influence (for example, for artistic purposes), you need to know that such distortions are especially pronounced if you shoot from bottom to top a frame where there are vertical lines (pillars, trees, walls of buildings, etc. .) And especially if these lines are located closer to the edges of the picture. Distortion is significantly reduced if you zoom in (increase the focal length). And, of course, no one forbids the use of high-quality optics, such as
the SMC Pentax DA 15mm f/4 AL Limited lens, or a similar wide-angle and high-quality prime lens, also exists with a wider angle (and powerful aperture). Optics of a similar class are available in many other systems, but I am not able to write reviews of all “landscapers” due to lack of time. The general drawback of such lenses is one thing - the price hits you on the spot, and not in the eye, but in the eye. But even the most expensive of them cannot perfectly correct distortion. Therefore, many people correct distortions in Photoshop, and we will return to shooting landscapes with our 16-45/f4.

Landscape and aperture

In general, a wide angle is good for landscapes, while a focal length of 50mm or higher is optimal for portraits. For landscapes, as a rule, the aperture is closed so that everything is sharp, “from the navel to infinity,” as is often the case with compact cameras: in landscapes there you don’t have to cover the aperture at all :). A DSLR is more difficult to use (no matter what the advertising says!) - a fast lens can blur the foreground when focusing on distant objects. And not even very fast, as in our case - see an example:

Landscape No. 1. Path to the sea.
aperture f4, shutter speed 1/2000, EGF 39 mm.

By enlarging the photo we will see that the pebbles in the foreground are slightly blurred. Why? It is known that various types of distortions increase towards the edge of the lens and decrease towards its center. By covering the lens with a diaphragm, we make only the central part of the lens work. Those. reduce distortion. These are the laws of optics. This also applies to sharpness - as the aperture opening decreases, the depth of field (depth of sharply imaged space) increases. I won’t torment you with evidence: believers look for materials in the Bible, or believe everything the preacher says; atheists will take a physics textbook and find in the optics section formulas for constructing optical systems and the properties of a simple lens; photographers will simply trust their experience - the choice is yours :) Let's get back to the photo. Here the aperture f4 was set to the maximum open for this lens; as a result, the depth of field is small and the pebbles in the background “did not fall into this depth of field” - they were slightly blurred. Why is the foreground blurred? Because focusing was done at a distance quite far from it (along the coastline). To “focus attention” on the pebbles, you had to focus on them, and then everything else would be blurred - both the sea and the coastline. But what if we want to have a sharp frame across the entire field? That's right, shoot the landscape with a point-and-shoot camera! And the unfortunate owners of DSLRs will have to think very hard with their heads :) - for example, about how to hold down the aperture: and for this you will have to read the instructions, and then study the camera, and then look for where this lever or wheel is to control the aperture, and even think what position should you turn this wheel to, and what do the numbers mean, which will change and what kind of sharpness will it cause - in general, everything is not so fun at all... :)

But seriously, the very short shutter speed used in the picture made it possible to close the hole to 11 (in this case, all the light rays that form our picture pass closer to the center of the lens lenses!) - and then we would get a picture sharp from the pebbles in the background - up to the sea inclusive. In this case, a shutter speed of 1/250 sec was obtained, which is more than enough for static shooting. In theory, with a focal length of 39 mm, a shutter speed of 1/60 sec would be enough, but I don’t recommend going to extreme values ​​(both shutter speed and aperture) unless absolutely necessary.

Landscape No. 2. Path from the sea :)
aperture f8, shutter speed 1/500, EGF 24 mm.

Blurring the near (or far) part of a landscape photo is not at all necessary. This is why I advise you to cover the aperture even on a compact camera - to develop a habit called “correct photography.” For a DSLR camera, this is a necessary reality - unless, of course, you want to deliberately blur part of the image. On the right you can see a similar example, but taken with the aperture held down and focusing on palm trees and girls :) ⇒

Yes, yes, this is the same path, but now it leads not to the sea, but back :) But now we are not interested in palm trees and girls, but in something completely different. In this photo, both the far and near shots are quite sharp. It’s easy to verify this by enlarging the image to compare the cloud with the nearby pebbles of the path.

Here the aperture could be closed down to 11 - a shutter speed of 1/500 of a second made it possible to do this, turning into 1/250, which would also be quite enough for a wide angle. With such good lighting, photographing landscapes is very comfortable; almost any camera can handle this, including an automatic point-and-shoot camera, and, I think, any photographer :)

It is generally accepted that it is better to shoot landscapes with the camera in a horizontal position. However, as you can see from the last two pictures, they can easily stretch from the bottom up! If the plot requires it (and it did here!), then with vertical (they also say “portrait”) photography, the landscape looks no worse than horizontal.

What is hyperfocal

The desire for sharpness to the very horizon is almost an indispensable condition when photographing landscapes. How to focus correctly? The easiest way to do this is to set the lens to infinity (the icon next to the distance scale). In this case, everything will be sharp from a certain border to the horizon, which allows you to fully concentrate on choosing a composition without being distracted by focusing the lens. However, in this case, the depth of field will be slightly less than the maximum the lens can provide.

Here you can focus not on infinity, but directly on the mentioned near edge, so that the horizon remains sharp enough, and the near edge of the depth of field moves even closer to the foreground. This is called hyperfocal distance setting.

Therefore, when photographing a landscape, it is important to remember:

Hyperfocal focusing provides maximum sharpness from half this distance to infinity.

Sometimes this half is just not enough to sharpen the close-up. There is a simple formula for practical calculations, which, to be honest, I never use myself :-)

H = F 2 / D * C, Where

H - hyperfocal distance
F - focal length (not EGF, in meters)
D - aperture number (denominator)
C - circle of confusion = 0.043 / 1500 /k (i.e. 1/1500 of the length of the film diagonal in meters, k is the crop factor of your camera).
Let's get the hyperfocal distance in meters.

When shooting landscapes, doing such calculations is extremely inconvenient, so you can combine the “infinity” symbol on the lens scale with the division of the depth of field scale, which corresponds to the set aperture. If there is no scale (almost always with new optics!), then learn to determine the distance by eye. In general, nothing unusual, everything is as always :)

Below is a table of hyperfocal lengths for some cameras, typical focal lengths in EFR (for clarity of comparison) and most landscape apertures. The distance must be divided by 2. For example, on a DSLR with a 50 mm lens and an F8 aperture, focusing on the hyperfocal will be 7 m, which means we get a depth of field from 3.5 m to infinity. As you can see, the smaller the matrix, the wider the angle and the tighter the aperture, the more opportunities you have to capture both the near and far shots in sharp focus.

In this situation, the compact feels the best here (even not with the smallest matrix). A real landscape artist! I didn’t list compacts with smaller matrices; everything from sneakers to the horizon is so sharp. It's okay, such cameras have a lot of other problems :)

How to shoot a landscape in summer :)

And it’s easiest to shoot a landscape in summer, since good lighting happens much more often than in winter, and the colors are more saturated. But no one has canceled other subtleties of landscape photography.

Shot #3 is fairly typical: sharpness at infinity is especially important for landscape photographs, in which the background is just as important as the foreground. But the shooting of the magnificent Ladoga landscape at the source of the Neva was carried out for greater effect from a very low point, which made it difficult to get depth of field from the stones (close to the camera) to the horizon, much further from these stones. Setting it to infinity did not help: everything was great except for the foreground, which stubbornly did not want to fall into the depth of field even with such a clamped aperture.

But setting the hyperfocal to a distance closer than infinity helped - focusing on a stone in the water (I estimated the hyperfocal by eye). The aperture was clamped to f11 (I didn’t want to clamp it narrower than f13-16 due to possible diffraction) and, of course, the widest angle helped. As a result, the depth of field moved to the closest stones, while continuing to reach the horizon.

The focal length for landscapes is usually chosen less than the standard one, this ensures both a greater depth of field inherent in short-focus optics and a wide angle (more space will fit into the frame). In landscape No. 3, all possibilities were used: the “correct” hyperfocal, sufficient aperture, and the widest possible angle (for this lens) was taken.

Of course, a landscape can also be shot at a longer focal length: it all depends on what you want to shoot, the angle, and the ability to get closer. For example, I didn’t have the opportunity to “frame with my feet” when photographing landscape No. 4, because I would have drowned along with the camera, and I wanted to get a larger parachutist, because he is an important “detail” of the landscape... :)

The following landscapes were shot at wide angle. If the gorge with a mountain river (No. 5) was filmed at a long focus, then either a cloud or a river would fit into the frame, because it can be extremely difficult to step back. In the mountains, there is often an abyss gaping behind you, or an impregnable wall rising like a block: not a step back, there is nothing to do here without a wide-angle lens! But it can be even worse: when your shoes break in the mountains, the end can be much more sad than your bloody feet. Yes, and you will have to break them much more if you jump barefoot with a camera over a pile of broken stones, and, of course, not in order to immediately return back, but in order to take a more beautiful angle :)

You can often hear that a photographer shoots landscapes only twice a day: in the morning and evening hours. That's right, sunsets and sunrises can be incredibly beautiful. But the main highlight is the expressive sky! The reflections of clouds on the water can brighten up even the most inconspicuous pond, in which case midday photography can bring a lot of fun.

In general, you already understand how to shoot a landscape correctly. We develop a route, we don’t jump into the abyss, we don’t climb into the water, we don’t climb rocks, and, most importantly, we carefully choose the lens and shoes :)

Photo No. 7 will tell us about shooting a sunset in the evening. Here you need to remember that the sunset can quickly disappear, so you need to choose a shooting point in advance in order to determine the angle - what and how will be in the frame (and, of course, so that the place is not taken up by photographers running from all over the area! :)) - in in general, be prepared.

We immediately set the exposure and measure the sky, because at sunset we need a good depiction of the upper part of our wonderful landscape. Nobody needs a well-exposed bottom part of the frame with completely whitened skies and no sunset. You will learn about such mistakes and measurement methods at the end of the page.

So, since such lighting requires long shutter speeds, it is best to use a tripod, or set the maximum aperture. Because I didn’t have a tripod at hand, so I chose the latter, as a result of which I got a completely acceptable shutter speed. And he turned on the flash for the foreground to capture and at the same time highlight for greater effect the impact of the wave on the stone. As you can see, sometimes landscapes can be photographed with flash :)

Landscape No. 7: The Ninth Wave:)

7.

Aperture f4, shutter speed 1/60 s, EGF 24 mm.

A typical example of a multi-plane shot with close, medium and long shots. Do you know what is the most difficult thing about this photograph? This will protect the lens from splashes of salt water :) A protective filter screwed onto the lens can greatly help the photographer in such situations.

How to shoot a landscape. Tips for photographing typical landscapes:

8.

aperture f8, shutter speed 1/500 s, EGF 27 mm.

I will not list further common tips: avoid symmetry in the frame, do not cut the photograph (or head) in half with the horizon line... be sure to use the “golden ratio rule” (or the simplified “rule of thirds”) in order to place the semantic centers of the photograph off-center , and on lines a third of the distance from the edges of the frame, or the intersections of these lines...

Take only multi-faceted photographs, with obligatory focusing (sharpness) on the near ground.
Firstly, symmetry can often have its own charm, especially when it comes to converging lines of perspective. Additionally, many photographers deliberately use perspective geometry regardless of whether there is a lack of symmetry. Or lack of presence :) Perspective can not only emphasize the depth of space, but also direct the viewer’s wandering gaze into desired point frame (to the not meaningless center). For example, like this:

Cityscape: perspective :)

9.

Secondly, each photograph can have its own semantic centers - different from the third one... a normal person will not place, say, a lonely tree (or a person) all the time at the same point in the frame. Nevertheless, such advice on shooting landscapes (and not only) is almost always given... Let me put it simply - to take excellent photographs, you can follow the rules just as much as you can break them - and still get an excellent result. As well as not receiving it :) If everything were so simple - follow a simple set of rules and get a masterpiece - the photograph would have to be buried...

Imagine, a certain critic comes to a photo exhibition and says: “Oh, this is a great still life, the apple coincides with one of the points of the golden ratio - what an unsurpassed composition! But look at it - a completely disastrous photograph, just a disgusting portrait - because the background behind is not blurred(! ). But here is a landscape worthy of Aivazovsky's brush: the horizon line is not in the center, but, as expected, is shifted by a third from the edge of the frame! Please note, gentlemen, the next photograph is a real masterpiece, everything is sharp right up to the horizon..."
However, it smacks of insanity, doesn’t it? :) Nevertheless, I don’t see anything wrong with knowing these rules and applying them creatively, but not stupidly following them always and everywhere. I would advise beginners to start shooting by observing these rules rather than by denying them, but very carefully and unobtrusively. Let me get a little philosophical, so you can safely skip the next paragraph :)

A photograph must first of all express some plan, idea, or worldview of the photographer; or at least be simply beautiful (and, of course, technically high quality), but even all of the above is in no way a guarantee of a masterpiece... And the amount of money earned by a professional for photographs is certainly not a measure of values ​​- it is a measure of the values ​​and prestige of his customer, advertising, for example, toilet paper:), or lying in warehouses and unclaimed, but already produced (in a large batch!) unsuccessful model of army boots :) And also money is a measure of the punctuality of a photographer’s fulfillment of an order and the promotion of his name... This is by no means a stone against professionals, it’s just stereotype of cultural and moral values market economy :) The non-commercial photographs of your humble servant should not be considered as some kind of examples of creativity, in any case, these photographs should not be such examples, since they were selected purely for educational purposes.

How to shoot a landscape in winter

There is nothing worse and more boring than taking photographs in winter... Your fingers are freezing on the shutter button of the camera. Low season, there is no greenery, no bright rich colors, but there is only the gloom of the cloudy sky and the cold gray melancholy of the snow. The icy air makes one wonder sadly about whether the jacket will crack due to the frost, or whether frost-covered rags will fall off right at the feet of the dumbfounded photographer... :) Maybe I should just abandon photography until summer and the camera on the mezzanine? However, I like the next example much more than another brightly colored summer picture, as well as a white winter landscape that is so sharp it hurts my eyes. We all strive so hard for sharpness, don’t we?

Landscape No. 10. Winter evening.

10.

Lens 50/1.4, ISO=400, aperture f2.4, shutter speed 1/6 s, EGF 75 mm.

This winter evening was shot with a high-aperture “portrait” lens at ISO=400, and without a tripod. Let me remind you that if the sensitivity of the sensor is not explicitly indicated, then ISO=100 is the default :) Why was the aperture set to 2.4, when the lens aperture allowed opening it up to 1.4, thereby more than halving the shutter speed, or ISO?

The perspective of the story (or twisted design) was such that I didn't want to blur the foreground even further, which was inevitable with the aperture wide open. By the way, shooting in such lighting without a tripod is not a sign of laziness and bad photographic habits of the author (as you, of course, thought), but the author was simply too cold to run home for a tripod and back for a photograph and... frostbitten hands :) I was I am so confident in the aperture power of my lens and tenacious hands that I did not consider it necessary to carry a tripod with me or run after it. Okay, I won’t fool you - I confess that I specifically took this fix so as not to take a tripod :) But the point, of course, is not only that. You should know: if you like a “shot,” you need to shoot it right away, because you won’t make exactly the same one again, even if you go back. It will be difficult (or impossible) to find that shooting point, besides, the lighting will change, and in general, everything will be wrong. But this does not mean that the author calls for clicking everything indiscriminately. You should always ask yourself: do I really need this shot? Shouldn't it be worth coming back here later, when the lighting changes and everything will be completely different? :)

Ordinary winter.

11.

Aperture f11, shutter speed 1/750 s, EGF 24 mm.

A couple of useful tips. In severe frosts, you need to remember that the battery drains quickly - think about a spare one if you plan to shoot a lot, and the camera (and lens) may fog up if you bring it from the street into a warm room without a case. Don’t neglect the lens hood, it not only helps in backlit sun conditions, but also protects the lens from snowflakes. "What is a lens hood?" - they asked me in one of the letters. Anyone who laughs at a beginner’s question does so in vain: we all once learned for the first time what a camera, lens, lens hood is...

This is a 67mm threaded lens hood 16-45/4 lens with hood

12.

A green spot spoils an otherwise good photo. Unfortunately, this does not always happen, otherwise no one would forget to carry a lens hood on the lens :) And especially in bright light sunlight. Naturally, this applies not only to winter photography!

This is exactly what Alexander Sergeevich would have written if he had known about the origins of photography, which was officially recognized 3 years after the poet’s death. And if the hole of a pinhole camera can hardly be called a modern lens, then one fact does not raise the slightest doubt: the poet clearly understood the art of creating a winter landscape! :) And indeed, the low-luminous winter sun can greatly enliven the picture, thanks to long shadows and frosty clean air. The mysterious long shadows that trees cast on the sparkling snow can become the basis of many fairy-tale winter scenes.

Landscape Winter morning.	Three pines :-)
13. Aperture f8, 1/500 s, EGF 30 mm.	14. Aperture f4.5, 1/1000 s, EGF 36 mm.

High humidity and frost are a faithful companion for successful shooting of a winter landscape, but this is unlikely to be confirmed with pleasure by the photographer’s whitened fingers, forever frozen to the shutter button :) Therefore, never leave the house in such cold weather if you don’t want... to capture trees silvery with frost, shimmering shadows lying on the snow, and crystals of frost wonderfully sparkling in the sun, sparkling with joy! This is a real high point for those who like sharp photos :)

Landscape No. 17: Frost and sun. Landscape No. 18: Photographer's Star.

aperture f8, 1/1000 s, EGF 31 mm. lens 50/1.4, f4, 1/1500, EGF 75 mm.

17. 18.

Brrr... -16-18 Celsius, the star has not yet appeared for the photographer, but the snow in photo No. 17 really sparkles beautifully... But in No. 18 there is some incredible mixture of landscape and macro. And why "Photographer's Star"? After all, in the background there is an icicle and a drop captured “at a speed of 1/1500 sec,” and the Sun is in the background, in the background.
However, the Sun is a star. The central object of the Solar System, a hot plasma ball with a diameter of 1 million 392 thousand km, with a temperature of 15 million degrees. And although this star is located about 150 million km from the Earth, it provides our planet with energy for all processes, which means life for the entire biosphere of the planet, and lighting for the photographer :)

We know that photography is impossible without light!

How to shoot a landscape in autumn.

The reasons for unsuccessful autumn photographs are not a terrible camera and cheap optics, but the photographer’s lack of experience in choosing a subject, the nature of the lighting and even the state of air transparency. The air should not be saturated with moisture (and especially exhaust gases), but clean and transparent! For expressive photographs, clear, sunny days and no wind are best if you want every leaf to be visible. Choosing the most advantageous lighting option determines the success of the photo and makes shooting golden autumn an ​​enjoyable experience in all respects.

Fallen leaves create excessive yellow variegation in the foreground and make it too light, which can impair the conveyance of the depth of space. And then the frame is constructed so that the foreground is in the shadows (of course, there are exceptions to the rules if, for example, you need to focus the audience’s attention on fallen leaves.) However, falling leaves attract the eye in their own way, they bring dynamics to the plot, create the atmosphere of golden autumn is even more tangible! A riot of crimson, yellow, green and blue colors create a magnificent autumn palette.

№ Leaf fall

aperture f6.7, 1/250 s, EGF 24 mm.

When shooting a landscape during the “golden autumn”, the shadows are well illuminated by the reflected light flux from the yellow foliage, so the shadows here turned out to be quite well worked out. Actually, there is no need for them to look completely dark in photographs.

Determining exposure when shooting such autumn landscapes usually does not cause any difficulties. The camera itself does a great job! The only thing I didn’t want to do here was to clamp the aperture harder (it’s quite sufficient) so that the shutter speed remains no longer than 1/250, otherwise the falling leaves might be a little blurry. I still doubt whether this is the right decision or not, since local blur against the background of a clear photograph could enhance the dynamics of the fall effect. Or not?
That's the problem, now I can't sleep from the problem :-)

Autumn is beautiful, sad and rich in colors. As the poet said -

But this is illustrated by a photograph not of the Boldino autumn, but taken in a completely different place... where I ended up by the will of fate, desire and the arrangement of the stars... :-)
Old Russian city of Kashin.

No. 19. Kashin autumn!

aperture f8, 1/125 s, EGF 24 mm.

In fact, I don’t like autumn (and the lush wilting of nature either!), so I limited myself to just a couple of photos. To beautifully remove the crimson, you need to wait for good soft light, then the picture will play with colors even better. Look for good light and then any camera, even a cheap one, can handle the landscape! And to avoid blurring of small parts, catch a moment of calm and, in addition, use a tripod or stop.

But in this situation I was more interested in finding an interesting angle. You know, when there is no main subject of photography in the landscape, the search for an unusual angle is sometimes as necessary as the light and richness of colors combined :-) Otherwise... it will be a sad time for the photographer!

How to shoot a landscape in spring.

It’s very easy to photograph spring: ringing streams, buds, blossoming nature, the first green leaves, flowers, buzzing cockchafer and other joys. And my spring at 24 mm at f8 turned out like this...

20.

Architecture photography.

When you pick up a camera, sometimes it is very difficult to determine whether you are photographing architecture or a city landscape... But the point is not in the name, but in choosing a shooting point, such that the view of your beloved city is not spoiled by advertising signs that hang even historical buildings center, depersonalizing and killing not only our history, but also a piece of the inner world of each of us - even those who did not like lessons from school :)

There was a time when city blocks were surrounded by green parks, and mothers walked with strollers near flowering lawns, and the hubbub of happy children could be heard from kindergartens. But this is what happens when money turns into an end in itself, and useful things are forgotten in favor of the golden calf. Now entire neighborhoods are being developed not for people to live in, but for profit. We are looking at a completely documentary photograph of the near future, where there is no place for people...

And this photograph is documentary because it is not a collage, not a montage, but a very real photograph, so to speak, a sketch from life.

Who said you can't shoot architecture from the bottom up with a wide-angle? Possible geometric distortions? But a wide angle will be beneficial, emphasizing the lines of perspective converging upward, thereby enhancing the effect of the height of grandiose buildings. A fantastic mixture of an ancient tower and an ultra-modern skyscraper made of glass and steel (the water tower of the Vodokanal Museum in photo 24), and the majestic and whimsical architecture of the Church of the Savior on Spilled Blood - both were built in St. Petersburg, and especially for photography with a wide-angle lens :). What? Well, of course I'm joking!

In both images, the aperture is open to f6.7, EGF 24 mm.

24. 25.

At such a wide angle (24 mm focal length), even a not very tight aperture of 6.7 gives a large depth of field over the entire height of buildings, and even from a close shooting distance. With a wide-angle lens there is no problem, the difficulties lie elsewhere.

What to do if it is undesirable to photograph architecture from the bottom up? This often happens, but the reasons can be different:

1. the frame requires a horizontal construction of the plot... uh... on the contrary, the plot requires it :)
2. I want to cover the entire building, and not just the upper part.
3. we need an architecture without geometric distortions.

Climb onto a nearby building? For example, like this, with a winning vantage point. Well, a whole excursion around St. Petersburg: here you have the Peter and Paul Fortress (bastions and the cathedral on the left in the background), and the Neva with a “meteor” on hydrofoils, and the Admiralty (foreground) with a ship on a spire (65 kg, by the way) - one of the symbols of the city, and the Hermitage is to the right (green building).

Petersburg, city center.

Aperture f8, shutter speed 1/750 sec, EGF 67 mm.

But shooting from a high point is not always possible. And point 2 was not fulfilled, it was not possible to cover the entire Admiralty building, but it dominates here as the main subject of photography. The solution is obvious, it’s on the surface! You should graduate from the Academy of Arts and paint any architecture with brushes on canvas from the angle in which you intended it. I don’t understand, what exactly didn’t you like?

Okay, okay... let's take the camera :)

Cityscape, St. Petersburg, stock exchange building.

27.

Aperture f6.7, shutter speed 1/180 sec, EGF 51 mm.

As you can see, everything is simple - we stepped back and did not set the widest focal length of 51 mm, which does not contribute to distortion. And we received an architectural monument of Russian classicism from the French architect Jean Francois Thomas de Thomon, who created a real ancient Greek temple from Pudost limestone: a rectangular building framed on four sides by a colonnade... and most importantly, almost without geometric distortions :-)

It is unlikely that the artist in the photograph would have turned out a better photo, since in this case she herself would not have been included in the frame, but someone has to draw pictures, right? :) Please note that the girl uses a tripod to paint the landscape, and rightly so! ok, let there be an easel...

What to do if there is nowhere to go back?
No problem, set a wide angle!

Smolny Cathedral.
aperture f7, shutter speed 1/320 sec, EGF 38 mm.

By the way, this cathedral was shot not with a specialized shift lens (which removes perspective distortions by shifting the lenses parallel to the plane of the matrix), but with an ordinary... compact. The secret of the photo is simple - distortion and noise are removed in Photoshop :) The great Rastrelli, who founded the cathedral in 1748, never thought that his creation could be painted without a brush and canvas (and then corrected in an editor) by any dude painter, nothing knowledgeable neither in painting nor in architecture :) But why go far... So I look at this Smolny Cathedral and am amazed: what kind of dude photographs architecture like that :-) This is incomprehensible to the mind!
The bottom of the building is cut off, which is not acceptable for classical photography architecture and, especially, for its construction. Well, it’s necessary to disfigure the architect’s masterpiece... Honestly, it wasn’t me who took the photo, but the camera! Rastrelli had it easier; thank God, he didn’t have such bad photographic equipment! :-)

Pussy riot and the like! Please do not vandalize museums, churches and cathedrals. Temples should be viewed not as places for sacrifices to the gods (which no one has seen), not as premises for trade without taxes, and not as a platform for your cheap “political” self-PR. These are historical landmarks, architectural creations of great masters and architects of the past. These buildings are our Russian culture and history. The museum is not a place for dancing, sex and other destructive orgies! Don’t be a redneck, don’t offend my feelings as a deeply unbelieving person and other cultured people! I understand perfectly well what performance and freedom of expression are. Exactly as long as it doesn't interfere with others.

Now let's reflect in more detail on all aspects of architectural photography.

In fact, this genre has special requirements, especially in terms of the so-called. documentary or classical photography of architecture. First, let's start with the obvious: the photograph should be simply well exposed, the horizon should not be blocked to the side, and the focus should be on a building, temple, monument (i.e., on the subject of photography), and not on the tree standing in front.

Special requirements are to accurately convey the shape, color of the object and its proportions. Buildings must be completely included in the frame; cutting off the roof or spire is unacceptable! The lower part of the building should also fit into the frame, and if it doesn’t fit, try moving back or find a different angle. It is very desirable that (if possible) people, advertising and cars parked nearby do not get into the frame. Nothing should distract from the main subject of photography! And even if this cannot be avoided, you need to shoot in such a way that the car does not block a quarter of the building.

The same goes for pedestrians and onlookers... A person clearly posing in front of the lens in the foreground always distracts attention, even if it does not block anything, since for classical and, if you like, documentary photography of architecture, this is completely unacceptable. Why? Well, we’re talking about the “architecture” genre now, and not a full-length portrait :-)

As you have already noticed, the author of these photos did not really fulfill (to one degree or another) the requirements for documentary classical architecture, since he is more drawn to other visual media, which should not bother you. You can attract the viewer's eye to the main subject of photography in a variety of ways, and not only by the rule of thirds, the golden ratio and other geometry. Everything you need to know has been said, but how you use it is up to you to decide.

I cite the following photograph of the creation of the architect Auguste Montferrand - St. Isaac's Cathedral - as an example of such a discrepancy with the listed requirements, albeit imperceptible. However, there are no serious mistakes. The foliage frames the temple and even directs the gaze towards it, creative issues have been resolved, color rendition is in order, the problem of onlookers (trying not only to get into the frame but also to obscure it) was radically resolved with a Kalashnikov assault rifle by choosing a specific shooting point and a long wait for the moment of solitude :-) And the disadvantages are the trees, slightly covering the bottom of the building and, partly, the colonnade, as well as a slight distortion, but Montferrand is not to blame for this :-) In terms of artistic photography, they are not disadvantages, but what about the classical approach to the genre of architecture? Yes, and no, and not really... But it will make you look like a postcard with views of the city.

St. Petersburg, St. Isaac's Cathedral.

Aperture f8, shutter speed 1/250 sec, EGF 30 mm.

By the way, all this abundance of churches indicates that under the Soviet regime they were not destroyed everywhere and purposefully due to the complete rejection of religion, as is now commonly claimed, but, on the contrary, they were preserved. There was rejection, but the temples remained. All masterpieces of architecture were maintained and preserved in the USSR at state expense, like everything that was owned by the state. And museum values ​​too, although the media (the mouthpiece of the bourgeoisie) shouts that the Bolsheviks stole, robbed, and destroyed everything. Go to the Hermitage or the Russian Museum and admire the results of looting and destruction.

The following cityscape really is such, because it was filmed in the city, and the theme of architecture in one form or another is always present in this genre. Or it should be present :-) Before you is the Kazan Cathedral in St. Petersburg (more precisely, the view of its wing from Kazanskaya Street), was built in 1801-1811 by a former serf (!) Andrei Nikiforovich Voronikhin in the Russian Empire style. No, not a typo, not a vampire :-)

At first, this temple served as a charitable institution, then as a monument to Russian military glory, under Soviet rule - as a museum of the history of religion and atheism with rather wonderful and terrible exhibits from the times of the Inquisition (funnels through which water (or molten tin) was poured into the mouths of heretics, "Spanish boots" for crushing leg bones, “crying” icons with copper tubes behind the eyes, and other historically interesting exhibits about religion), which immediately disappeared from the temple after it ceased to be a museum and again became a charitable institution: first a joint museum-religious, and , finally, a structure that has completely disappeared from worldly life.

But not for architecture photography :-) The exhibits have been lost, but the temple remains... The soft evening sun often creates lighting with such a color scheme that will benefit both the most inconspicuous photograph and the magnificent creation of the architects.

Left wing of the Kazan Cathedral.
It is on the right, if you look from Nevsky Prospekt :-)

30.

Wide angle, aperture f8, shutter speed 1/180 sec, EGF 24 mm.

Despite all the advantages, the disadvantages of photography in this genre are obvious - it is not suitable for documentary architecture for a number of reasons (you will find it yourself!), but it is quite suitable for a good city landscape. By God, the author tried, he highlighted the main subject of the shooting with both light and color, and hid everything unnecessary in the shadows in order to emphasize the elements of architecture. You can throw a stone at me, but I still haven’t decided to call a tow truck :-) Go for it, you can do better!

Common mistakes

Below is another sample on the topic of how to properly shoot a landscape. Or rather, how wrong it is: the horizon is blocked (the horizon line is not parallel to the frame line), there are other disadvantages - glare, especially clearly visible in an enlarged photograph. Blocking the horizon spoils the photo, it's in bad taste. An obvious technical defect is hopelessly in harmony with a creative defect: what, in fact, is depicted? What did the author really want to show, what did he dream of conveying to the viewer?
The beauty of nature? An architectural masterpiece? A pile of plans?
Hmmm... This applies not only to the night landscape :)

The horizon is littered

31.

Let's consider another defect, which is called "overexposed sky", we will see an example below. Many people also call this terribly ugly thing “low dynamic range of the camera.” Or a narrow photo latitude :) It is believed that dynamic range is a disadvantage digital cameras unlike film ones. In fact, film also cannot convey details well, both in the shadow areas of the plot and in the illuminated ones. This confusion usually occurs in bright sunlight due to the high contrast of dark and light areas of the image. And the really blue sky looks completely whitened in the picture with a well-exposed foreground. Or, on the contrary, the sky is normally detailed, but the foreground below is completely dark, no details are visible. Or vice versa :) But you really want blue skies, bright sun, and green grass in the shade!

That is why it is not recommended to shoot at midday, when the sun is at its zenith and especially bright. Some try to extract missing details in Photoshop, assuring that this can be done from a RAW file without problems, unlike jpg... Indeed, patience and work in Photoshop will fray everything, however, it is better to solve the problem BEFORE, not after. Because any graphic editor is a thing in which a beginner can easily and without difficulty turn a good photo into a bad one, but on the contrary, even with difficulty it will not always work :)

Shot No. 32: The sky is completely overexposed... Shot No. 33: How to shoot a landscape correctly.

32. 33.

Photo #32. There are no details in the sky, everything is overexposed. Indeed, low dynamic range may be the root cause... But I ignored this futile idea and simply shortened the shutter speed from 1/180 to 1/750 sec., without changing the aperture, and got shot #33. Small dynamic range suddenly became incredibly large! :)

You can even do this automatically - by measuring the exposure in the sky, and not in the shadow areas, and shooting. We aimed at the sky, and it turned out to be the sky. We measured it the other way around - it turned out the other way around :) Fast, simple and angry. The disadvantage of this holy simplicity is obvious and lies in the fact that you are either shooting the sky or the ground in shadow areas! :) But even here you can cheat by illuminating the background that has fallen into the darkness with a flash. In such cases, it should be turned on forcibly, even if the stupid camera machine thinks otherwise. Of course, there must be a foreground (and in photographs of beginners there is usually none), and it must not only be there, but be within 3-4 meters, otherwise a weak flash may not reach it. And no closer than a meter or one and a half, so as not to overexpose nearby details... In addition, do not try to highlight the Eiffel Tower with a flash against the backdrop of a city landscape - it definitely won’t fit :)

Second way. You can take a meter in the light part of the frame, remember it, and take a meter in the dark area. Before this, the automatic mode can be used as a photo exposure meter, i.e. First you find out what the machine thinks (to set the initial exposure), and then you experiment. Here you should set manual control and, without changing the aperture, set the average shutter speed - between the dark and light parts of the measurements. Then point the camera where you want (not just the sky or a dark area) and take a shot. It’s convenient if the camera has a “remember exposure” function so as not to torture your brain’s RAM. In this case, point the camera at the desired point and take a shot without switching to manual mode.

There are other methods, for example, exposure bracketing (also known as bracketing or auto-bracketing) - you get 3 pictures with different exposures: darker, normal, lighter. Then choose the best one :) In addition, many cameras have an exposure compensation function: -/+ (darker/lighter). Sometimes it is called compensation. Here it’s a good idea to read the instructions for your own camera: whether to turn the wheel, press a button, or rummage through the menu.

In general, there can be many functions, and manual control replaces everything: you just click several pictures with the same aperture and different shutter speeds.

Sometimes it’s easier than rummaging through the menu, painfully remembering where they hid this bracketing... Or maybe it’s called an auto plug? Or maybe it's not in the menu, but on the buttons? Or maybe it's better to use exposure compensation? Or is the compensation in the instructions called correction? Or am I looking in the wrong place, or maybe I forgot something? Devil!
One hundred thousand devils, hell, the devil and the underworld! be thrice and forever damned that satanic day when I bought this infernal digital vacuum cleaner from the devil's shop! Burn with blue fire in a wooden coffin dog instructions in Turkish-Chinese!

To make things easier, many things (not just bracketing) are easier to do with shutter speed and aperture. Sometimes it seems to me that modern cameras are completely overcrowded with duplicating each other (and therefore meaningless) functions that incredibly complicate the menu, working with the camera, and the learning process... Forget everything! In fact, you need to study the following things well in the camera: focal length, shutter speed, aperture, photosensitivity, focus, flash. Although these things were improved, they did not fundamentally change for many decades; for example, autofocus appeared, but no one canceled manual focusing, and sometimes you cannot do without it at all. Don't torture your camera, shoot in aperture priority mode and/or manual control. And everything else is from a crafty guy with horns...

However, it happens that the narrow dynamic range of the camera still interferes with simple human happiness. You can achieve a good result with a “bad” sky by screwing a good gradient neutral gray filter onto the lens - half-colored glass that transmits half as much light. There are other filters, for example, polarizing, ultraviolet, neutral gray (can be used for other tasks). The filter itself is “bad” in that it costs extra money, it’s bad because cheap filters can worsen sharpness, and expensive ones are more expensive :), and besides, it is only suitable for lenses with the required diameter, which have threads for filters. This means that most compacts (as in the case of RAW) flies, because they have neither threads nor RAW... I'm not even talking about soap dishes, which have no manual settings for shooting. Owners of these cameras solve the problem in 5 ways:

You can also be satisfied with the result in different ways. When nothing works out, then you need to decide what is more important - light or dark places. Or rather, select the main subject of shooting and try to measure it. If the subject is small, then in advanced cameras you can use "spot metering". If you have a soap dish and such functions are missing as a class, and the object is in the light part, then we trust the automation. If it’s dark, you can illuminate it with a flash to work out the details in the shadows. However, in landscape photography you want to shoot everything, but the main subject may simply be missing! Then I advise you to find it, or re-read paragraphs 1 to 5 :) Now you understand why it is very bad when there is nothing for the eye to catch on in the landscape!?

I would not advise beginners to immediately run to the store and buy light filters for all occasions. Firstly, there are many subtleties for working with filters, and secondly, you need to be able to use filters, certainly understanding how, why and why, otherwise by spending money you will not get the result you were striving for. You need to come to this in approximately the same way as you came to the conclusion that you simply need exactly Camera, not compact. Or vice versa :) The only thing that can be unconditionally recommended is a simple and inexpensive protective filter that will protect the lens from dust, dirt, splashes and mechanical damage. You can choose it according to the following principle: the more expensive the lens, the more justified the purchase of a filter.

Well, actually, that’s all for now, but the topic of “how to shoot a landscape” is, of course, not exhausted. Rather, this is brief information about what and how you can shoot with budget optics. When I prepare the following materials, I will post them on the website.

Happy shooting!

Summer is the season for filming outside, in the open air. Many people go on photo walks to take beautiful staged portraits. But how to move from creating random everyday shots to conscious portraiture?

This article is dedicated to taking a staged portrait: one in which the person poses for you. But most of the tips given can be used when shooting reportage shots, without staging.

Where to start?

Of course, the best place to start is by planning the shoot.

Make an agreement with the person you want to photograph. If the person is interesting and pleasant to you, then the shooting will be comfortable. Let's look at what issues should be discussed with the model in advance.

Photography concept. Discuss with the model what kind of image you want to show in the photo (for example, romantic or fairy-tale). Think about the character of the model.

Filming location. The selection of a location (slang word from the English location - the place where the shooting takes place) should be taken seriously special attention. After all, the area in which you shoot can help reveal the subject of the photographs, the image and character of the model.

We especially note that the selected location must meet a number of criteria. For example, there should not be a ban on filming. It is advisable to choose a time when there are the least number of passers-by at the planned shooting location. Good places for a photo shoot would be parks, estates (open to the public), and streets in the city center.

Many photographers specifically select “secret” places for shooting - those that are not known to other photographers. In our lessons, we have already touched on the topic of choosing places for shooting more than once. Programs also help in the search - with the help of them we can find out what a place looks like without going there. Before shooting, it is recommended to conduct reconnaissance of the area yourself.

Choose places that are easy and convenient to reach.

• We agree with the model. Immediately agree with the model on the timing and procedure for receiving photographs (even if the model is your close friend).

It is difficult to predict the number of finished photographs. It all depends on the circumstances: how lucky you are with the location and weather, how smoothly you can work with the model. About some general rules It’s difficult to say, but most often they agree on 10-20 processed frames from a photo shoot, the delivery time does not exceed a month.

All frames from the shooting (sources) are usually not given to models, because selection best photos the author must deal with it. Selecting the best shots is as complex a skill as taking photographs. The ability to select photographs needs to be improved in the same way as your creative vision.

When discussing a future shoot, the most important thing is to establish contact with the model. It is good psychological contact with your hero that will allow you to take expressive photographs.

• When should you take money for filming? Of course, only you can make the decision. I will describe my opinion on this matter. A specialist who provides services to a less experienced person takes money for filming. Let's say you professional photographer, and your model is just a girl from next door who has nothing to do with photography. Then you will have to not create with it, but work with it. And they take money for work. If your experience in photography is the same as that of your model, then it is quite possible to agree on TFP (Time For Prints) terms.

The conditions denoted by the abbreviation TFP imply not just “free” shooting, but joint creativity of two equal specialists aimed at a high-quality result. If you don’t make a living from photography, I recommend limiting yourself to photographing interesting, pleasant people within the framework of TFP - you will not only get pleasure, but also really good shots.

• What time of day is best to take photos? When photographing outdoors, we can only control the lighting to a very limited extent (using flashes and reflectors). To create beautiful shots, you need to adapt not to your circumstances, but to the sunlight conditions.

It is best to take photographs during regular hours - in the morning or evening hours; when the Sun is low above the horizon and provides spectacular, volumetric lighting. But sunny afternoon is not the best time for photography. The model will squint, hard dark shadows will appear on her face, and the lighting itself in the frame will look boring and flat. Cloudy days are good for portrait photography. When the sky is overcast, you can take photographs all day - the light will be diffused, pleasing to the eye.

What photographic equipment is needed?

Portrait photography is good because it requires a minimum of photographic equipment. Enough to have reflex camera and a fast lens.

Why do you need a DSLR? It is very easy to use and comfortable to hold in your hand. And of course, it has a large matrix, which will provide not only excellent image quality, but also allow you to beautifully blur the background in the picture. DSLRs with an APS-C format (“cropped”) matrix are affordable and easy to operate. These include Nikon D3200, Nikon D3300, Nikon D5300, Nikon D5500. Cameras with full-frame sensors are more expensive and are designed for advanced users. This class includes models Nikon D610, Nikon D750, Nikon D810, Nikon Df.

All DSLR cameras have interchangeable lenses. It is important to choose the right optics for portrait photography. Of course, you can start with a universal “whale” lens. But many photographers are quickly moving to more specialized optics. This primarily includes fast fixed lenses. A classic choice for shooting portraits is a lens with a focal length of 50 mm (for example, Nikon AF-S 50mm f/1.8G Nikkor). It is relatively inexpensive and convenient to use on both cropped and full-frame cameras. If you want to shoot full-length portraits with part of the landscape included in the frame, it is better to choose a wider-angle lens with a focal length of 28 (for crop) or 35 mm (for full frame).

NIKON D810 / 35.0 mm f/1.4 SETTINGS: ISO 64, F1.4, 1/200 s, 35.0 mm equiv.

Note that when shooting at close range, such lenses will distort the proportions of a person’s face and body.

Classic portrait lenses are considered lenses with a focal length of 85 mm (for example, Nikon AF-S 85mm f/1.8G Nikkor). But they are more suitable for full-frame cameras, and on “crop” they will “zoom in” too much.

Everything except the camera and lens is optional and depends on the author’s creative ideas and shooting style.

NIKON D810 / 50.0 mm f/1.4 SETTINGS: ISO 31, F1.4, 1/320 s, 50.0 mm equiv.

When photographing portraits, they usually take photographs on open apertures- this is how we blur the background, separating our hero from it. In addition, with an open aperture you will be able to take better shots in conditions insufficient lighting. It is convenient to adjust the aperture in modes A and M.

How to make a frame darker or lighter? Use exposure compensation. This is the easiest way to correctly change the brightness of the resulting photos.

Learn to focus accurately. This is especially important when working with high-aperture optics. If the aperture value is F1.4–F2.8, then it is very easy to miss focusing. As a result, your hero's face will turn out blurry. Learn how your camera selects focus points. It is convenient to work with high-aperture optics in single-point focusing mode, focusing on the model’s eyes.

It is also necessary to monitor exposure. If the shutter speed is too long, the model will be “blurred” by its own movements, and a “stir” will appear in the photo. The best thing take photographs at shutter speeds shorter than 1/125 s, this will protect against severe image blur. If you are shooting with a telephoto lens, or your hero is in constant motion (running, jumping), it is better to use a shutter speed shorter than 1/250 s.

Portrait photography often involves photo processing. This can range from simple white balance correction to image retouching, removal of skin blemishes and serious color correction. Therefore it is advisable take photos in RAW format, in order to provide yourself with greater freedom for creativity when processing.

At what distance should you shoot a portrait? Keep such a distance so that the proportions of the person’s face and body in the frame are not distorted. Best to take photos from a distance of at least 2–3 meters. The close-up of the shot can be changed by choosing the focal length.

Many photographers are fanatically chasing a beautifully blurred background (bokeh) and a “unique lens pattern.” But we must remember that the main character in the frame is a person. Pay less attention to technical delights and leave more time working with the model and the subject of the shot. This is the path to expressive photographs. Beautiful portraits can be taken even with the simplest technique, if you approach the shooting with passion.

If you decide to use manual focus lenses, keep in mind that it will be extremely difficult to focus accurately with them. If your model is relatively still, you can focus through the Live View screen. Shooting through it (with magnification) will allow you to focus more accurately.

NIKON D810 / 50.0 mm f/1.4 SETTINGS: ISO 100, F2.8, 1/320 s, 50.0 mm equiv.

There are a great many different approaches and styles of shooting staged portraits. We recently had a tutorial on basic creative tips for aspiring photographers. These tips are quite relevant for portrait photography. And here's another row useful recommendations to create expressive portraits:

A portrait photographer must be able to win people over, interest them, and inspire them. If there is mutual understanding between the photographer and his subject, you will be able to take a lot of good shots during the photo shoot.

Explain to the model the essence of the shots, tell them what you want to see in the photo. You can do it not in words: show it with your example, make sketches on paper, suggest an associative series. You may remember a suitable image from a famous movie or book. The ability to explain your idea is an important skill for a photographer. Of course, to be able to do this, you will first have to think carefully about the essence of what you are photographing.

It’s good when the result of portrait photography is not one frame, but a small series of photographs, united by a common idea, story, style.

The production does not take away from the life and emotions in the frame. It only determines the plot in which our hero lives. Talk to the model, try to evoke the right emotions in her. Offering clear, strictly defined poses for shooting is not the best option. Most likely, with this approach, the model in the picture will turn out to be squeezed.

NIKON D810 / 85.0 mm f/1.4 SETTINGS: ISO 900, F1.4, 1/160 s, 85.0 mm equiv.

Similar advice for photographing children: don't expect children to be positioned like dolls. Come up with a plot, a general outline of the shooting and combine it with a children's game to make it interesting for them. Play and communicate with your child. Choose fun accessories for the photo shoot: interesting clothes, toys, etc.

Look for diffused side lighting. If the shooting takes place during restricted hours, you can try backlighting.

• Series portrait photographs(photoset) can be supplemented with other interesting photographs - for example, photograph the model’s hands.

NIKON D810 / 35.0 mm f/1.4 SETTINGS: ISO 64, F1.4, 1/400 s, 35.0 mm equiv.

Praise the model! Don't forget to celebrate her successful actions. Point out what you like. This will help you find contact and liberate your hero. If something doesn’t go as you planned, then it’s better not to reproach, but to talk in a friendly manner about your vision of the shot.

Use basic layout rules. Compose the frame according to the rule of thirds, do not “cut off” your hero’s limbs at the joints, leave more space in the direction of the model’s gaze. Of course, these rules can and should be broken sometimes. But it is important to understand that the rules are effectively broken by those who know and understand them well.

It is believed that it is most beneficial to photograph a person at eye level (yes, you will need to sit down when photographing children). Let it be for you Starting point in the choice of angle. It is important to consider that people’s faces are different, so in each specific case, the shooting point can be taken lower or higher.

NIKON D810 / 85.0 mm f/1.4 SETTINGS: ISO 31, F1.4, 1/320 s, 85.0 mm equiv.

Advice that has become traditional - don’t be afraid to experiment! All good photographers We didn’t immediately come to our shooting style. Think creatively, but don't forget about theory! And you will certainly succeed.