What is a landscape in photography. Landscape. Composition and light in the landscape. Composition in landscape photography

Introduction

In artistic creativity "the richness and diversity of speech genres is boundless, because the possibilities of diverse human activity are inexhaustible ...". These words may well be attributed to photographic creativity.

The following genres have been established in photography: landscape, still life, wedding photography, portrait, architectural photography, interior, genre photography, reproduction, photo essay, panoramic photography.

It follows from the wide variety of genres that some people like to take pictures of one kind, others prefer to take pictures of other types of photography. In my opinion, the most relevant and interesting place in photography today is occupied by such a genre as landscape. And what person doesn't like the landscape? Everyone loves him. There is no such photo artist who would not try himself in this genre. None of them can resist the temptation to capture in a photograph a beautiful view or those changes in the landscape that have arisen as a result of gigantic works on the transformation of nature. Each person is not averse to putting a photo with a beautiful view of the evening sunset near the computer, or hanging a picture with a mountain landscape on the wall.

I chose the features of landscape photography as the theme of my term paper. Landscape in photography is an independent genre in which the main subject is nature under the vault of heaven: forest, garden, field, meadow, steppe, pond, swamps, plains, hills, mountains. The concept of "urban landscape" refers to the architectural space.

And is it difficult? For the first time to start shooting a landscape, it may seem that this genre is simple and accessible to everyone. In fact, the genre of landscape is one of the most difficult types of photography to digest. In my opinion, to create standing frame, which can be shown to others, the photographer needs to work for a long time, and sometimes even get up at five in the morning and travel hundreds of kilometers. To make a good landscape, it is necessary, first of all, to love nature, to understand and feel its beauty, to have an artistic taste and to be good at photographic techniques. The landscape is, first of all, your story about nature and its beauty, because the landscape can show nature is simple, touching and captivatingly beautiful, or it can reveal its formidable power. Not everything that at first glance seems beautiful in nature is of interest for a landscape image. Sometimes beauty is apparent, like a fleeting moment. And vice versa, sometimes you are surprised that the most ordinary, ordinary picture of nature in the picture can appear as amazing beauty. So in my term paper, I would like to reveal the beauty of winter photography, the colorfulness of the evening seascape.

The winter landscape is unusual for the looseness of the snow cover, its play of sparks under the sunlight, and the snowy terry trees.

The beauty of the evening landscape lies in the illumination of the clouds, in the reflection of brown light in the sea surface. These landscapes were painted by many artists of the past centuries, and even now they attract with their unusualness.

Photography teaches you to look, observe and see the world around you, and not only with two eyes, but also monocularly, i.e. just like the lens shows.

It is hardly possible to master the art of landscape photography while traveling by car or motorcycle. Sometimes in the pursuit of the plot with fast movement, we lose focus. Only external beauties flash before us, and at the same time we miss the life of nature, in which earth, sky, clouds, trees form the most expressive combinations. It is better to be alone with nature. A leisurely walk with frequent stops will give the photographer the opportunity to deeply feel nature, feel like a part of it, comprehend its secrets, reveal images of pristine beauty. Only in such a state is it possible to discover the boundless greatness of the universe in a drop of dew on a leaf.

The ability to see everything as if for the first time, without the heavy burden of habit, is inherent only to the artist, regardless of whether he is a painter or a photographer.

1. Literature review

1.1 The history of the creation of an artistic landscape

Landscape (French paysage, from pays - country, area) - a genre in which the object of the image is nature. It is customary to refer to the landscape the image of large spaces, regardless of their “subject filling”. It can be urban, industrial, but most often the landscape is an image of nature.

The most important and most ancient type of landscape is the image of pristine nature, the countryside. This is the original understanding of the French word "paysage" and the German "Landschaft" (the image of the village, the image of the earth), which for three centuries have been firmly rooted in our language. The industrial landscape, emerging at the end of the 18th - beginning of the 19th century, as well as the urban landscape, constitute separate directions in the development of landscape painting.

Landscape of medieval Europe

As it is written in the book by V.N. Stasevich "Landscape. Picture and Reality”, : “In medieval Europe, the art of depicting nature experienced a certain decline for a long time. Depicting the harvest of grapes, the Garden of Eden, or the end of the flood, the medieval European artist limited himself to a decorative designation of nature, not caring about any visual similarity to the natural world.

The conquests of ancient realism, which came to medieval painting, seem to fade away and are reborn into decorative motifs or ultimately conventions places of action. This is especially characteristic of Byzantine art. In the XIV century, a certain turn towards realism was noticeable in the art of this country. Accordingly, the image of nature becomes more concrete.

The influence of Byzantine art spread to Italy and to part of the European continent north of the Alps. Related principles of depicting trees, mountains and other elements of nature are found in Western European art, including in the frescoes of the artists of the Italian trecento - the period that preceded the Renaissance.

Landscapes in European miniatures of the 15th century are lyrical images of places familiar to the artist, often very accurately conveying the appearance of a particular landscape and architectural structures.

Since the early Renaissance artists have been occupied with questions of linear and aerial perspective. A perspective image is used even in relief, which acquires a picturesque character that is not characteristic of sculpture. Interest in real space served as an impetus for the discovery of the laws of perspective

Landscape of Holland in the 17th century

As it is written in N.M. Sokolnikova, : “In the 17th century, Holland experienced an upsurge of spiritual renewal. In this country, such genres of art as still life and landscape, which suggest the ability of the viewer to enjoy art without religious, historical or heroic reminiscences, are gaining ground. Here, for the first time, the realistic landscape as an image of a specific area was widely recognized. Here the sea becomes the hero of the paintings. After all, it was a real breadwinner for the country of sailors and fishermen.

Just as artisans specialized in the manufacture of a certain type of object, so artists specialized in different types landscape. One preferred to paint the sea, another - trees, the third - urban corners. Artists created their paintings for the market. This prosaic stimulus, combined with excellent taste and talent, produced amazing results. The seascapes of Adrian van Velde are so excellent in terms of the accuracy of the depiction of nature, in the sense of light and color, that later art critics began to think that the artist did not paint his paintings from nature.

No less significant are the artistic merits of the works of Albert Cuyp, Jan van Goyen, Solomon van Ruisdael.

The Dutch masters of the middle of the century are characterized by painting in close tones, in brownish-silver or yellowish-silver scales. These tones attracted artists with the opportunity to convey the moisture-saturated air of Holland (Meindert Gobbema, Philip Wouwerman, Claes Berchem, etc.). Artists liked to paint an overcast sky, when the dim light of the sun penetrates through a thin layer of clouds and evenly envelops nature.

Rice. 1. "View of Delft". Vermeer Delft

The real pearls of painting can be called the landscape of Vermeer of Delft "View of Delft" (Fig. 1). In it, “the artist depicted that moment on a summer day when it had just rained. The rays of the sun, breaking through the silvery clouds, have not yet dried the roofs, and raindrops sparkle on the foliage of trees, on the walls of houses and the sides of boats. The whole picture sparkles and trembles with many colorful shades, light reflections.

The drawing of architectural structures in the landscapes of Vermeer of Delft is so reliable, and the composition is so natural that there is an assumption that the artist painted pictures from life, looking out the window. It was unusual for that time.

But the Dutch landscape painters were not limited to reliable "portraiting" of their native land. There were artists "Italianists", or "novelists" who painted Italian landscapes or followed the trends of the "composed" Italian landscape (Klas Berchem, Jan Asseleim, Jan Bot, etc.). Hercules Segers was a great master of the romantic warehouse, who was followed by Jacob van Ruysdael and Harmensz van Rijn Rembrandt in the interpretation of nature. In the landscapes of these artists, Dutch realism is combined with a romantic beginning. From the realistic motif of an old cemetery or a group of trees, the artists extracted the dramatic power of spiritual tension through tonal, color and linear oppositions. Such is the “Jewish Cemetery” (Fig. 2) full of mystery, disturbing flashes of light, or the gloomy exotic “Swamp” (Fig. 3) by Jacob Ruisdael.

These artists were much less concerned about the careful finishing of a thing than its philosophical meaning and psychological effect when contemplating it. It is characteristic that the theme of Rembrandt's excellent landscape sketches and drawings was not clean, cozy streets and courtyards of Dutch cities, but peasant huts, old houses, country bridges.

Landscape of Baroque and Classicism

And so it is described in the encyclopedia "Avanta +. Volume5”, : A different attitude to the image of nature is observed in the Flemish artist Peter Paul Rubens. The art of Rubens was formed under the strong influence of the Baroque. Baroque is an artistic direction prone to exaggeration, in which a realistic attitude to the objective world coexists freely with fiction. It originated in Italy and spread throughout Europe.

Rice. 2. "Jewish cemetery". Jacob Ruisdael

Rice. 3. "Swamp". Jacob Ruisdael

An exceptionally talented artist, Rubens became the head of the Flemish school, and transferred the principles of the Baroque to the depiction of nature. When in his later works the artist turned to the image of Flemish nature, he painted a heroic, ideal, collective image. Hence the characteristic panoramic scope of his paintings, coming from the traditions of the 16th century.

But the landscape of the 17th century is not only Holland and Flanders. This genre received a characteristic solution in the art of France, in particular in the work of Nicolas Poussin, Claude Gellet, and Claude Lorrain. The landscapes of Poussin and Lorrain have all the necessary signs of classicism: an ordered balance, a well-thought-out distribution of volumes, tonal and pictorial masses of the composition, fragments of ancient columns, statues, and even entire structures reminiscent of ancient architecture, necessary from the point of view of classicism. There are mythological and biblical motifs borrowed from the literary monuments of the ancient world and the Middle Ages and introduced into the landscape as a staffing for its revival and semantic orientation.

The classical landscape is called "historical", for its connection with subjects from ancient and medieval history. Unlike the baroque landscape with its elemental heroism, the classical one has the harmony and clarity of nature. A classical landscape is a composed landscape, but composed on the basis of the artistic exploration of reality.

national realistic landscape

In France, by the 30s of the 19th century, a school of artists was taking shape - the creators of the national landscape. Georges Michel was one of the first to turn to the image of national nature. The nature of "everyday" France, with its birches, poplars, became the theme of Camille Corot's paintings. He liked to paint the transitional states of evening and morning, avoiding bright contrasts.

A group of Corot's contemporaries - Theodore Rousseau, Leon Dupre, Charles-Francois Daubigny, Constant Troyon, Narciss Diaz de la Peña, who were not satisfied with the rational system of the academic landscape - decided on an experiment reminiscent of Constable's. They began to paint the groves, fields, backwaters surrounding Paris. Sometimes they worked together, meeting in the village of Barbizon with Theodore Rousseau. The result of their efforts was a natural, life-like composition of the landscape.

Landscape of the 20th century

The 20th century introduced something completely new into the history of the landscape, breaking with the age-old traditions of depicting nature. This is cubism, the first representatives of which were the French artists Georges Braque and Pablo Picasso. Cubism is based on a purely speculative constructive analysis of forms, their division into arbitrarily assumed elements or the absolutization of their geometric meaning. Cubist landscapes are perhaps less connected with the landscape-reality than the landscapes of past centuries.

1.2 Artistic landscape in Russia

In Russia, the 19th century in the art of landscape began with the gradual conquest of realistic positions. As in Europe, this was expressed in the development of the open air and the national motif. At the beginning of the century, many traditions of the classical landscape were still preserved. Russian artists traveled to Italy for landscapes.

However, the artists of the generation of Sylvester Shchedrin were not satisfied with the static scheme of the classic landscape scenery with its nameless trees. In an effort to convey the life of nature, they introduce romantic lighting effects into their works, move away from the “stage” composition and brown color, strive to capture sunlight and the specific nature of nature.

A colossal step in this direction was made by Alexander Andreevich Ivanov (Fig. 4). His paintings are characterized by the purity and naturalness of color, the richness of tonal-color relationships. Ivanov, like his other contemporaries, was attracted to nature by the signs of the eternal, not the transient.

Rice. 4. “Olives near the cemetery in Albano. Young month” A.A. Ivanov

The epic calmness of the ideal image prevails even in those cases when Russian artists took the national landscape as a basis and strove to depict their native nature as it is. Such are the landscapes of A.G. Venetsianov, his students G.V. Soroka, I.S. Krylov and other founders of the national Russian landscape, who saw the scope and beauty of the "nondescript" Russian nature.

Among these artists, the original phenomenon was represented by the brothers G.G. and I.G. Chernetsov, the first artists of the Volga. Intending to paint a panorama of both banks of the river, they traveled from Rybinsk to Astrakhan on a special barge and created many original sketches and sketches. One of them is "View of the Syukeyevsky mountains on the Volga in the Kazan province" (Fig. 5).

So it says in the book of V.P. Rotmistrov “Russian Landscape”, : “The real systematic artistic development of Russian nature began in the second half of the 19th century, in the work of artists of the 60s. Russian nature, discreet and "not ideal" - swampy lowlands, slushy mudslides, monotonous plains - became the main character of the landscapes of the Wanderers. Russian artists finally "discovered" their homeland and stopped going to Italy for beauty. They discovered the beauty of the natural manifestation of life and lost the need to look for the "ideal" nature.

Rice. 5. "View of the Syukeyevsky mountains on the Volga in the Kazan province" G.G. and I.G. Chernetsovs

In the middle of the 19th century, the idealizing aesthetics of romanticism and classicism began to fade into the past. The leading role in Russian art begins to acquire a national landscape.

The very concept of "national landscape" involves the "portraiting" of a certain geographically specific nature, characteristic of Holland, France or England. For Russian artists, the middle zone of Russia became such a nature for a long time. But, unlike Europeans, Russian masters often put social meaning into national motives.

The principles of critical realism affected the character of the Russian landscape. Mournful motives are inherent in the images of nature not only in the paintings of V.G. Perov (“Seeing the Dead Man”) or I.M. Pryanishnikov "Empty" (Fig. 6), where the landscape has the meaning of an accompaniment to the image negative aspects Russian life.

Rice. 6. "Empty" I.M. Pryanishnikov

Characteristic of the Russian national landscape is also an attraction to the epic, in a sense ideal image of the Russian land, glorious for its forest riches, wide fields and mighty rivers (I.I. Shishkin).

The beginning of the lyrical Russian landscape is usually associated with the work of A.K. Savrasov and his well-known painting "The Rooks Have Arrived". It is difficult to point to another example of the landscape of the early 70s, in which the theme of spring would be solved with such completeness and concreteness. This image of Russian nature is so true that it seems as if the landscape was written off from nature, as if all of Russia fit into it. Expressed with subtle penetration spring mood. The landscape can rightly be called lyrical. At the same time, the spirit of romanticism is alive in Savrasov's other works - "Country Road" or "Rye".

The dynamic landscapes of the talented artist F.A. Vasiliev. In the painting “Swamp in the forest. Autumn” (Fig. 7).

Rice. 7. "Swamp in the forest." F. Vasiliev

The sun peeped through the gap of the autumn clouds, and its rays splashed onto the forest swamp. Trees, grasses seemed to sparkle with precious gold, the moisture of the recent rain sparkled. Nature smiled for a moment. Soon the sun will go down, dusk will come, the gloomy sky will turn gray, even and indifferent, the birds will fly away. The artist, hurrying to capture a brief state of nature, throws gold with energetic strokes autumn trees without caring about the detailed drawing of the details.

A different task was set by the teacher Vasilyeva I.I. Shishkin. Shishkin believed that "a picture from nature should be without imagination." There is no complete illusion in Shishkin's landscapes. The colors here are rather conventional and far from reaching the richness that is observed in wildlife. Shishkin's sunny paintings are not devoid of poetry, a sense of the epic grandeur of nature.

A.I. Kuindzhi, an epic-romantic artist, believed that an artist should paint a landscape “by heart”, relying entirely on creative imagination. With a full impression of naturalness, his landscapes are distinguished by thoughtful balance. Often the artist introduces into the picture an almost stereoscopic image of three-dimensional details in the foreground. They serve to further emphasize the illusion and scope of space.

The seascape is less common in Russian art. There is nothing surprising in this: the sea is less characteristic of Russia than plains, forests and rivers. However, almost every major Russian artist painted the sea. I.K. Aivazovsky has come a long way from the romantic to the realistically convincing poem "The Black Sea" (Fig. 8) or the magnificent "Waves".

Rice. 8. "Black Sea" I.K. Aivazovsky

Without underlined romantic effects, A.P. Bogolyubov.

In the last decades of the past and at the beginning of our century, the epic landscape was continued in the work of such famous masters as the student of Savrasov I.I. Levitan, N.K. Roerich, A.M. Vasnetsov. And, nevertheless, the dominant place was occupied by an intimate, lyrical landscape.

Already in landscape studies by I.N. Kramskoy, one can notice signs of a different attitude to the image of nature. Ivan Nikolaevich, an intelligent and far-sighted artist, found that the experience of the French masters had indisputable merits. “We absolutely need to move towards light, colors and air,” he wrote in 1874, inspired by the works he saw in Paris.

The landscape also often plays an equal semantic role in paintings of other genres: in the portraits of V.A. Serov, plot paintings by M.V. Nesterov, sketches by K.A. Korovina, A.S. Stepanov, and later in the works of B.M. Kustodiev, K.F. Yuona, M.V. Dobuzhinsky, K.A. Somov and many other Russian artists.

1.3 Landscape as a genre of photography

As it is written in the book of A.V. Afanasiev "History of photography": The genre of landscape began to take shape from the moment of the birth of photography. The world's first photograph, taken by N. Niepce in 1826, is a landscape (Fig. 9).

Rice. 9. "View of the city roofs" N. Niepce 1826

With the advent of the daguerreotype, many photographers began to shoot world-famous architectural monuments and other famous sights of antiquity (a number of such images were published in the book Travels of the Daguerreotype). The large size, local volumes and immobility of architectural objects contributed to the wide and rapid spread of the architectural landscape, while images of wildlife for photography of that time with its long exposures and imperfect (low-sensitivity) photographic materials were very difficult to achieve. The reason for this was the movement of leaves and blades of grass in the wind, the fragmentation of the details of the landscape (branches, trunks), the play of light and shadow, which is difficult to recreate. Therefore, the first images of the landscape were distinguished by a generalized form, the absence of unnecessary details and details. At the same time, the first landscape masters, following the traditions of painting, learned to convey a certain mood, a personal perception of nature in landscape motifs. In this sense, the development of the landscape genre was significantly influenced by impressionism, the best representatives of which brought to perfection the art of conveying the impression of the motives of nature. The works of Russian photographers N. Andreev, P. Klepikov, N. Svishchov-Paola, S. Ivanov-Alliluev were distinguished by this (Fig. 10).

Rice. 10. "Man in nature" Ivanov-Alliluev

The further evolution of the landscape genre was associated with new opportunities for more advanced photographic equipment and the development of the creative principles of photography. After a long period of depicting nature in general terms, conveying the general impression of her paintings from the 1930s. landscape shots become more detailed, including the smallest details of landscapes and objects of a specific time. Elements of the landscape genre are organically combined with the features of a reportage, the photographs receive a journalistic focus. This was especially characteristic of such innovative masters as A. Stiglitz (USA) and M. Dmitriev. The picture became a documentary evidence of a depicted fragment of nature landscapes by the Lithuanian master I. Kalvyalis (Fig. 11), it began to include ecological motives of a person’s attitude to environment, subject to disastrous anthropogenic impact (landscapes by V. Filonov).

Rice. 11. "Embankment of the Neman" I. Kalvyalis

In the modern landscape genre, such varieties as industrial, urban and architectural landscapes have received significant development, in which new themes and motifs, aesthetic assessments have appeared. The industrial landscape occupies a significant place in the works of A. Rodchenko, B. Ignatovich, A. Shaikhet, M. Alpert, A. Skurikhin and others.

An important feature of the modern landscape has become a variety of points of view on the captured nature. Became available for shooting landscapes that open from high altitudes(With hot air balloon, airplane, spaceship, interplanetary stations), incl. landscapes of the moon and planets solar system. In addition, in the light of new knowledge about nature, new attitudes towards it, the photographer’s gaze has become more insightful, sharp-sighted, larger, which allows him to more deeply convey his artistic vision of the world through pictures of nature and reflect in them many other socially significant phenomena, problems, ideals.

1.4 Features of landscape photography

Landscape photography can be divided into periods of photography: summer, winter, autumn, mountain, at sunset. This separation is due to natural features. Natural features include: at what time photography is carried out, temperature, landscape of the area.

As it is written in the book by L.D. Kursky, Ya.D. Feldman "Illustrated manual for teaching photography", : "The main feature of landscape photography is constructive. Unlike a still life, no adjustments are possible here. It is impossible, for example, to remove a mountain slope that interferes with the overall composition, it is impossible to change the location of the whole. Thus, work on the composition of the plot is limited to a single technique of choosing a shooting point and choosing a lens with the desired focal length. There may be many of these points, and each of them has its own peculiarity, its own individuality. Each landscape has several plans: near, far and medium. Their appearance is associated with a reduction in the scale of objects receding into the depths of space, towards the horizon line. Comparing the scales of linear forms is the linear perspective of a photographic image.

Lighting is an essential part of taking a picture. Light is one of the most defining sources of our sensations. It is considered as the main means of creating an artistic photographic work. The individuality of the landscape depends mainly on the unity and integrity that a well-chosen lighting effect gives to nature. Light makes it possible to see the real-existing world. At the same time, an important role is played by the originality and attractiveness of lighting, as it happens at different times of the day: at dawn, in the morning, at noon, in the afternoon, during sunset.

Rice. 13. Dawn. Layered Clouds»

Dawn is characterized by lightly spreading fogs or stratus clouds (Fig. 13), shadowless soft lighting, in which the shape of objects becomes vague and they seem blurry. Weak evaporation of morning moisture slightly fogs the distances, and depending on the depth of space, the aerial perspective is expressed by a barely perceptible haze.

The most fertile for shooting on location is the morning light, when the sky is transparent and not covered by thick clouds. In the morning, the color saturation is low and ranges from negligible to neutral color saturation.

The midday time is characterized by a particularly bright glow of the sun. Falling vertically, its rays create a high contrast of chiaroscuro and sharp light contours on the horizontal surfaces of the branches. For landscape photography, the effect of midday light is considered to be less expressive.

The second half of the day and the approaching sunset are the most favorable for outdoor shooting. The slanting rays of the sun lengthen the falling shadows, its rays lie horizontally on the ground, gently modeling the contours of trees and buildings. Sunset and sunrise, when space is filled with gentle diffused light, - best time admiring nature. Its very appearance resembles a picturesque landscape. The haze, which previously absorbed part of the red rays and dispersed the blue ones, dissolving, paints the horizon pink or red, and the upper part of the sky still remains blue, and amazingly gentle transitions of various color shades are observed on it (Fig. 14).

Rice. 14. “Sunset. Sea"

2. experimental part

2.1 Features of photographing a winter landscape

Shooting in winter time has some difficulties: at this time of the year the sun is low, daylight hours are short. Outdoor scenery can be shot from sunrise to sunset for only a few noon hours, and for filming in the forest, this time is reduced to a minimum, especially in narrow clearings or clearings. Both severe frost and a small number of sunny days favorable for this purpose do not contribute to winter landscape shooting.

Taking pictures in winter is technically more difficult than at any other time of the year. It is believed that a winter landscape in sunny weather has a large interval of brightness, which cannot be reproduced in the picture without losing details in the highlights or in the shadows of the image. You can deal with this by holding a positive exposure compensation, by about +/-0.7.

The second difficulty of winter shooting is the reproduction of the texture of snowy surfaces in the picture. This is achieved by choosing the most favorable types of lighting, light filter and exposure value. The texture of the snow is well reproduced with side, semi-backlight or campfire lighting. Due to the low position of the sun in winter, long oblique shadows appear from each irregularity in the snow, helping to reveal its structure in the picture. The frontal light is unfortunate, since with such lighting the texture of the snow is almost not detected. The texture of snowy surfaces is also poorly reproduced in diffused lighting due to the lack of chiaroscuro, so you should not shoot a winter landscape in cloudy weather.

The surface of the snow in the foreground should not be flat, untouched. Snow looks much more natural in photographs when it is loosened and tracks, a ski track or a trodden path are visible on it (Fig. 16).

The correct ratio of light and shadow on the snow, which ensures the natural reproduction of its surface, is possible with right choice filter. With a blue cloudless sky, light yellow and yellow-green light filters (Zh-1.4X and ZhZ-1.4X) are most often used. More dense filters of this group are used less frequently, mainly in the presence of a large number of white clouds in the sky. The orange light filter increases the contrast of light and shade on the snow, thereby worsening the nature of its reproduction in the pictures. Orange and red filters are used in winter shooting only when it is necessary to emphasize the whiteness and thickness of frost on tree branches, wires, which in this case are projected against a dark, almost black sky. The G-1.4X blue light filter finds almost no use in such surveys, since, by lowering the contrast of light and shade on snow, it worsens its development in the pictures.

When shooting landscapes that include patches of ice that glistens in the sun, a polarizing filter can be of great help, with which you can reduce glare. In some cases, this light filter can also be used to darken the sky without fear of increasing the contrast of chiaroscuro.

In order for the snow to turn out white, and not dirty gray, it is also important to adjust the white balance. Usually a sheet of white paper is used for this, but in winter it will do for this purpose, and the main thing is that a fresh white snowdrift should not have any foreign objects on it. But such an installation will be true only for the lighting in which it was made, and each time you change the place and light, the balance must be rebuilt - otherwise the snow will still be gray and the faces blue.

Hoarfrost and frozen drops on black branches, on the contrary, are dazzling on sunny days. In order for frost not to merge with a faded background, you need to photograph it in contrast with a shady area or a dark object, and frost looks even better against a bright blue sky.

For the upcoming photo shoot with winter views, it is best to choose the time with the most suitable weather conditions. It can be a bright sunny day, or an overcast sky with dark snow clouds, which will add some drama to the photo.

Rice. 15. "Evening landscape"

On fig. 15 shows an evening landscape. The goal was to depict how the texture of snow is reproduced. Photographing was carried out outdoors in the evening. The photo was taken on a Canon 450D camera. I set the aperture to 5.6 and set the shutter speed to 1/125. The composition of the shot is somewhat wrong, the foreground is empty. Lighting was used in black and white, the texture of the snow is palpable, but not sufficiently developed. The photo has a dark tone, the snow in the picture has a grayish tint, which indicates the wrong choice of exposure.

Rice. 16. "Winter Park"

On fig. 16 shows a winter park. The goal is to reproduce the texture of snow among the trees. Photographing was carried out outdoors during the daytime. This photo was taken with a Canon 450D. A polarizing filter was used to reduce glare in the snow. To create the right composition for the shot, I decided to place the road in the foreground, and many snow-covered trees in the background. Unlike the previous photo, this shot has a light tone. To convey the texture of the snow, I used back-diagonal lighting, thanks to which the snow in the photo has a good elaboration.

On fig. 17 shows trees. The goal is to show snow-covered trees. A Canon 450D camera was used to take the photograph. The trees were photographed on a sunny day using back-diagonal lighting. Two trees are shown in the foreground, making the frame look symmetrical. The blue sky with a pale pink transition makes the frame expressive. An orange light filter was used to emphasize the whiteness and thickness of the frost on the branches of the trees. The shooting was carried out from afar with the help of zoom. I set the aperture to 5.6, shutter speed 1/250. Tree branches are clearly drawn, have a snowy look.

Rice. 17. “Winter. Trees"

Rice. 18. "Frozen River"

On fig. 18 shows a winter landscape. The goal is to show the snowy nature. There are several plans in the photo. The first plan can be called a place where a bird feeder is depicted. Without her, the photograph would be less interesting. Thanks to this feeder, the image acquires a "circular inspection". The second plan is the trees that balance the composition of the frame. The bridge, as it were, connects two groups of trees on the right and left sides. The trees behind the bridge complete the planned structure of the frame. I think the frame is balanced, it is perfect. This shot was taken on a Canon 450D with a polarizing filter to soften the sparks in the snow. Shooting trees was carried out from afar with the help of zoom. I set the aperture to 5.6, the shutter speed was 1/125. The photo is of good quality. The branches of the trees are clearly drawn. The picture is balanced correctly.

Rice. 19. "River Landscape"

On fig. 19 shows a winter river landscape. The goal is to show the river landscape. A Canon 450D was used for this shot. Landscape photography was carried out at noon. To show the whole panorama of the river, I chose a high shooting point. I set the aperture to 5.6, shutter speed 1/125. The plot of the photo is interesting: there is a frozen river, a snow-covered embankment, and winter trees. On the one hand, this frame is composed correctly, but on the other hand, what is the big drawback, the photo has a dark tone. This minus shows how important it is to choose the right exposure when taking a photo.

2.2 Features of photographing the evening seascape

In the morning and evening, the illumination of the coastal landscape is most optimal for photography. Sunset is considered more colorful than sunrise.

A sunset with a large water surface can be made colorful. A calm sea will reflect the sky, forming a mirror image; ripples on the surface of the water will break up this reflection, preserving the warm glow of the water and blazing a trail of light from the horizon to the foreground. Sunset is best captured from a higher vantage point. This can be the top of a coastal cliff or a pier.

Sunset photography can be difficult. The most difficult of them is the definition of exposure. If you use an exposure for the brightness of the sun, the result will be an image of only the sun, and everything else, including clouds, will remain completely dim. And if you determine the exposure by the brightness of the sky, then the sun will turn out to be “scorched” and will not look like a golden ball that you intended to photograph, but a white mass. Therefore, a compromise is needed. One method is to take the average value from two exposure readings - the brightness of the sun and the brightness of the sky overhead. Another method for determining exposure from the weighted average brightness of a frame is to take the exposure reading with the sun at one of the edges within the viewfinder. With this position of the sun, there will be no shortcomings in brightness and contrast. The exposure parameters that are obtained in this case are then set manually until the camera is moved to the working position corresponding to the selected composition of the frame. No matter what method of exposure metering is used, when shooting this scene, it is advisable to duplicate shots with exposure bracketing, since a difference of one stop on the aperture scale can completely change the mood of the picture.

In this situation, the aperture controls more than just exposure. If you use a small aperture, you get something similar to the effect of a starburst in the image of the sun. The smaller the aperture, the stronger this effect. Since direct sunlight enters the lens with this type of shooting, there is a danger of flare from glare. You can work with any lens, but if the subject is centered around the sun, use the longest possible lens. When the sun is low in the sky, the light level is also low and you will have to use a slow shutter speed, at which it is impossible to steadily hold telephoto lenses in your hands. Therefore, when shooting low sun, a tripod is useful.

Large water surfaces are best shot from a high vantage point. In this case, the image of water occupies most of the frame area, while at a low shooting point, the main part of the frame will be occupied by the sky. To emphasize the vastness of the water space, they include in the frame an image of a boat, a ship, which helps to identify scale relationships. Sometimes their reflections in the water contribute more accurate transmission surface conditions and weather.

During sunset, the overall color tone changes literally every minute. The lower the sun goes, the redder its light, and long before a person notices this change in color, the matrix registers it as a transition from thick yellow to orange and then to red. The same thing, but in reverse order, occurs at sunrise.

As soon as the sun has gone below the horizon, the sky quickly turns dark blue with a red dawn stripe along the horizon. Half an hour after the sun has completely disappeared, if the night is clear, the whole sky will be filled with a warm afterglow. This is exactly the moment when you need to install a standard lens and start taking pictures. The shutter speeds will be long, but this time the exposure can be reliably determined by the brightness of the sky itself, since this glow is uniform and there is no sun disk in the frame that would affect the exposure reading. The same glow appears in the sky before dawn. Both of these moments are worth capturing on camera, and are often much more interesting than the sunrise and sunset themselves.

Rice. 20. "Sea"

On fig. 20 shows a seascape. The goal is to show a sunset on a sunny day. Photographing was carried out outdoors in the evening. The photo was taken on a Canon 450D camera. An ultraviolet light filter was used. I set the aperture to 5.6, shutter speed 1/250. We can say that the horizon divides the frame in half, but in this picture it is justified. From this picture, you can not "cut off" the top or bottom. The presence of stratus clouds in the image makes the photo expressive. Also expressiveness of the picture gives a sunny path. I think the photograph is well-balanced.

On fig. 21 shows a seascape. The goal is to show the sky at sunset. The photograph mainly depicts the sky illuminated by the red color of the setting sun. There are red-blue color elements in the sky, which indicates the sunny weather of this day.

Rice. 21. Scarlet Sunset

The scarlet tone of the sunset can say: the sun will soon go beyond the horizon and night will come. This landscape was photographed outdoors in the evening. The photo was taken on a Canon 450D camera. A red light filter was used. I set the aperture to 8, shutter speed 1/1000. The photo is of good quality. The sea in the photo is dark almost black. The sun is just above sea level, and there are a lot of clouds in the picture, which gives the photo a colorful look. The frame is balanced correctly. The intended goal was successfully achieved.

Rice. 22. "Brown Evening"

On fig. 22 shows a seascape. The goal is to show the sunset. Photographing was carried out outdoors in the evening. The photo was taken on a Canon 450D camera. A red light filter was used. I set the aperture to 5.6, shutter speed 1/500. The photo is of good quality. The sky is pink, the sea is mostly dark red, and the presence of clouds makes the frame expressive. With this shot, I intended to show a colorful sky at sunset. I did the composition of the frame, what goals I pursued. I didn't want to show the vast expanses of the ocean, the main character here is the sky. There are a lot of clouds on it, and the disk of the sun, and light yellow highlights - all this indicates that the composition of the frame is built correctly. The target has been achieved. The sunset is colorful.

Rice. 23. "Rainy Evening"

On fig. 23 shows the sea after the rain. The goal is to show a sunset on an overcast day. Yes, this is indeed shown: the haze, which previously absorbed part of the red rays and scattered the blue ones, dissolving, paints the horizon pink or red, and the upper part of the sky still remains blue, and surprisingly gentle transitions of various color shades are observed on it. Photographing was carried out outdoors in the evening. The photo was taken on a Canon 450D camera. A yellow light filter was used. I set the aperture to 5.6, shutter speed 1/125. The photo was taken an hour after the rain. The presence of black clouds in the sky indicates the past rain. The main character here is the sky for this reason I preferred to show the horizon insignificant.

Rice. 24. "Seascape"

On fig. 24 shows a seascape. The goal was to show a sunset on a sunny day. Photographing was carried out outdoors in the evening. The photo was taken on a Canon 450D camera. An ultraviolet light filter was used. I set the aperture to 5.6, shutter speed 1/250. Although the horizon divides the frame in half, it is justified in this picture. Nothing can be cut off from this picture. The sunset has a light purple hue, which gives the picture an unusual, expressiveness.

conclusions

Summing up, I would like to note that when shooting snow, the texture is best conveyed by side, semi-backlight and backlight. Due to the low position of the sun in winter, long oblique shadows appear from every bump in the snow, helping to reveal its structure in the picture.

It is important that photography is not carried out in cloudy weather, since with diffused lighting the texture of the snow will hardly come to light, otherwise you can spoil the picture in an artistic sense.

It is advisable to use various light filters as a visual technique. To emphasize the blue cloudless sky, light yellow and yellow-green filters should be used more often. If you want to emphasize the whiteness and thickness of the frost, you must use orange and red filters. To dampen the very bright glare of snow sparkling in the sun, you can use a polarizing filter.

The best times to photograph a seascape at sunset are summer. During this period, there are more clouds that enhance the expressiveness of the plot. Clouds perceive the red glow of the sun, complementing the picture with a constantly changing light palette. Very often, when the sun is behind the clouds, its rays shine in all directions, creating a particularly impressive picture.

If desired, you can enhance the impression by placing various subjects in the foreground with a large water surface from the picture. So a calm sea or lake will reflect the sky, forming a mirror image; ripples on the surface of the water will break up this reflection, preserving the warm glow of the water and blazing a trail of light from the horizon to the foreground.

Bibliography

1. V.N. Stasevich "Landscape. Painting and reality "M.: "Impulse", 2006 - 184 p.

2. Encyclopedia “Art. Volume 5". M.: "Avanta +", 2001 - 547 p.

3. V.P. Rotmistrov "Russian landscape". Moscow: Avangard, 1999 - 205 p.

4. J. Wade "Technique landscape photography". M.: "Mir", 1989 - 200 p.

5. A.A. Tikhonov, Techniques for Lighting Photography. Minsk.: "OOO New Knowledge", 1999 - 143 p.

In photography, a landscape is not just shooting views and not a protocol-accurate reproduction of one or another corner of nature. No wonder they say that a landscape photographer should be not so much a botanist as a poet! And if we are talking about creating an artistic photograph, we have the right to demand from its author an accurate selection of material, fidelity in understanding the material and the meaning of artistic creativity. Truthfulness, poetry, picturesqueness of the photographic image (Ivanov - Alliluev, 1971).

An artistic landscape created by means of photography should evoke the same deep feelings in the viewer as a landscape made by means of painting. And there are many such works that meet these high requirements in photography (Ivanov - Alliluev, 1971; Levkina, 2013).

Modern landscape photography is very diverse. The landscape has been preserved and is developing, in which its authors follow the examples of classical examples of painting. Here, of course, one cannot speak of thoughtless imitation and simple repetition of the techniques and effects found by the painters. Photography does not lose its independence, the specific features of modernity. But analogies in plots and pictorial structures still remain, they are quite obvious. Such landscapes are interesting in that they develop artistic taste, demonstrate painting skills, and evoke associative representations in the viewer (Ivanov-Alliluyev, 1971; Levkina, 2013).

Features of landscape photography

It is generally believed that landscapes can be photographed in all weather conditions, from bright sunlight to the flash of thunderstorms, and the most important thing in landscape photography is to get up early to catch the morning light, since the morning sky is the clearest and most transparent (Harman, 2011) .

The most important feature in landscape photography is the absence of a science of artistic landscape photography. There is no book in the world of photographic literature called The Art of Landscape Photography. The reason is simple: the art of photography is so multifaceted and complex that this science turns out to be a metascience. As it is written in the book by L.D. Kursky, Ya.D. Feldman "Illustrated manual for teaching photography": "The main feature of landscape photography is constructive. Unlike a still life, no adjustments are possible here. It is impossible, for example, to remove a mountain slope that interferes with the overall composition, it is impossible to change the location of the whole. Thus, work on the composition of the plot is limited to a single technique of choosing a shooting point and choosing a lens with the desired focal length. There may be many of these points, and each of them has its own peculiarity, its own individuality. Each landscape has several plans: near, far and medium. Their appearance is associated with a reduction in the scale of objects receding into the depths of space, towards the horizon line. Comparison of the scales of linear forms is the linear perspective of a photographic image (Belov, 2012).

Lighting is an essential part of taking a picture. Light is one of the most defining sources of our sensations. It is considered as the main means of creating an artistic photographic work (Dyko, 1977).

The individuality of a landscape depends mainly on the unity and integrity that a well-chosen lighting effect gives to nature (Belov, 2012; Dyko, 1977; Wade, 1989).

Light makes it possible to see the real-existing world. At the same time, an important role is played by the originality and attractiveness of lighting, as it happens at different times of the day: at dawn, in the morning, at noon, in the afternoon, during sunset. Also, the time of year, temperature, landscape of the area are important when photographing. As a result, we can conclude that a landscape photographer has a lot of unusual and difficult to solve problems (Belov, 2012).

First of all, the following paradox awaits him: being directly at that point in space from where a stunning landscape opens, a person with a camera experiences a powerful, versatile effect of the surrounding nature. His gaze simultaneously covers 180 degrees of perspective, and if he looks around, then all 360. In the photograph, the perspective is usually limited to 60 degrees with a typical lens focal length of 28 mm (Ilyinsky, Petunina, 1993; Belov, 2012) .

Secondly, the photographer is affected by visual, sound and olfactory images. Something is constantly happening around: birds sing, flowers smell, the stream murmurs, the wind blows. Tactile sensations also play an important role in general perception: under our feet we feel sharp stones, tree roots and other uneven landscapes, we can touch the rough or smooth bark of trees, we can roll a snowball out of snow in our palms (Wright, 2010; Wade, 1989).

The materiality of the landscape is clearly visible in the foreground, the texture is clearly visible a meter or two from the photographer: blades of grass, stones, leaves of trees are drawn in detail. The paradox lies in the fact that instead of this multitude of delightful perceptions and sensations, the photographic result will be some kind of banal photograph or a flat picture on the monitor, conveying only a small part of everything that was felt at the moment of shooting (Belov. 2012; Morozov, 1985).

Another of the great difficulties that the landscape photographer faces is the disappearance of the third coordinate. In the landscape, the depth of space, as a rule, is many kilometers! And in the picture, the image is flattened, it becomes two-dimensional. How to restore a three-dimensional picture of nature? Linear perspective will help us with this (Lapin, 2005).

Perspective comes from the Latin word perspicere, to look through. The patterns of linear perspective were developed by many Renaissance artists. These include Leonardo da Vinci and Albrecht Dürer. For example, Leonardo da Vinci established the basic patterns of image reduction. The science of depicting spatial objects on a plane or any surface in accordance with those apparent reductions in their size, changes in the outlines of the form and light-and-shadow ratios that are observed in nature. In other words, this is: a way of depicting three-dimensional bodies, conveying their own spatial structure and location in space.

Fig.19.

Fig.20.

The perspective of how science appeared in the Renaissance, since at that time the realistic trend in the visual arts flourished. The created system for transmitting the visual perception of spatial forms and the space itself on the plane made it possible to solve the problem facing architects and artists. Many of them used glass to determine the perspective, on which they circled the correct perspective image of the required objects (Lapin, 2005).

AT fine arts and pictures maybe various applications perspective, which is used as one of the artistic means that enhance the expressiveness of images. Depending on the purpose of the perspective image, perspective includes the following types: direct linear perspective, reverse linear perspective (Morozov, 1985).

Direct linear perspective. A kind of perspective calculated from a fixed point of view and assuming a single vanishing point on the horizon line. Subjects scale down proportionately as they move away from the foreground. Direct perspective has long been recognized as the only true reflection of the world in the picture plane. Taking into account the fact that linear perspective is an image built on a plane, the plane can be located vertically, obliquely and horizontally, depending on the purpose of perspective images (Fig. 21) (Kursky, Feldman, 1981).

Fig.21.

"Birch Grove".

An example of the transfer of space in this photo is represented by a linear perspective. The path in the birch grove and the ditch decreases and narrows proportionally as it moves away from the foreground. Trees also get smaller as they get further away.

Reverse linear perspective. A type of perspective used in Byzantine and Old Russian painting, in which the depicted objects appear to increase as they move away from the viewer, the picture has several horizons and points of view, and other features. When depicted in reverse perspective, objects expand as they move away from the viewer, as if the center of the vanishing lines is not on the horizon, but inside the viewer himself. The reverse perspective forms an integral symbolic space, oriented towards the viewer and suggesting his spiritual connection with the world of symbolic images. Since, under normal conditions, the human eye perceives an image in direct rather than reverse perspective, the phenomenon of reverse perspective has been studied by many specialists (Fig. 22) (Belov, 2012; Levkina, 2013).

Fig.22.

What role does perspective play in photography? Linear perspective - plays a huge role in the work of the photographer. In photography, to obtain a linear perspective in a picture close to real, lenses with a focal length approximately equal to the diagonal of the frame are used. To enhance the effect of linear perspective, wide-angle lenses are used, which make the foreground more convex, and to soften, long-focus lenses are used, which equalize the difference in the sizes of far and near objects (Lapin. 2005).

Despite the two-dimensional nature of photography, the sense of volume in the image affects its perception, so it is important to use perspective techniques that can help achieve three-dimensional perception of photography (Lapin, 2005).

There are several ways in which linear perspective manifests itself in a photograph. All of them are based on the composition of a photograph and the features of human vision (Lapin, 2005; Morozov, 1985).

One of the obvious laws of linear perspective is that objects appear smaller as we get further away from them. To learn how to apply this law, it is enough to find a shooting location with repeating objects, for example: a row of trees, poles or a long wall, steps and railings of stairs in parks (Fig. 23) (Belov. 2012).

Fig.23.

In order for linear perspective to show itself in the picture, you need to get very close to the first object in this row so that it seems huge in the photo. If this effect is achieved, the rest of the objects in the repeating row will appear much smaller, which will enhance the impression of depth (Fig. 24) (Lapin, 2005; Belov, 2012).

Fig.24.

Another method of expressing perspective is to use lines extending deep into the image to convey volume in the image. Objects that form two converging lines are well suited for this method (for example, Railway). To enhance this effect, you need to choose a low shooting point. At the bottom of the survey, the lines will appear very wide and tend sharply into the depth of the image towards the vanishing point (Fig. 25) (Harman, 2011; Wade, 1989).

Rice. 25.

One of better ways display linear perspective in the picture - include objects of various sizes in it. For example, from a particular point of view, people in the photo will appear very small, and if they are standing at the foot of a mountain, then the viewer will understand how huge this mountain is. In the same way, you can use trees, animals, cars or other objects, the relative size of which is very different compared to mountains or other spacious landscape (Kursky, Feldman, 1981, 1991).

All these methods are the result of the photographer's observation. In real life, linear perspective is perceived through distance. If you use different plans in a photograph, emphasizing that one of the objects is closer to the camera and the other is farther away, then the picture will seem three-dimensional (Belov. 2012; Lapin, 2005).

Based on the foregoing, we can draw the following conclusion: it is required to select the composition of shots in such a way that a reduction in these dimensions is noticeable in the frame. Good way to emphasize the expressiveness of the depth of space - use a wide-angle lens, while the degree of reduction of objects in the frame increases dramatically: the tree in the background is already sharply reduced in size, and in the third plan the object completely turns into a point. This phenomenon creates the illusion of remoteness and depth of space (Morozov, 1985; Belov. 2012; Dyko, 1977).

The next technique for photographing a landscape is to use the possibilities of color-tonal perspective, color (Wade, 1989).

Each of us is familiar with a natural phenomenon when, along with a decrease in the shape of objects (with an increase in the distance between the object and the observer), color contrasts also decrease. Modern photographic art has reached such perfection that its best works, deep in thought, original in visual solutions, have acquired the features of genuine artistry. These works give grounds to talk about the original handwriting of photo artists, about the style of their work, about searches in the field of artistic creativity and about such an important category visual arts, like color (Buimistru, 2010; Ivanov-Alliluev, 1971).

The concept of “color” came to photography from painting, where color is understood as the nature of the relationship of all the color elements of the picture, the consistency of colors and their shades. The external expression of color is the picturesqueness and colorfulness of color combinations. But the meaning of color solutions is in their use to express content, main idea author. Therefore, the appearance of certain colors and tones on the picture plane is always motivated and expedient, and they are used for a truthful, expressive, emotionally impressive depiction of reality. Exactly at

in this sphere, the true beauty of color, its artistic value, is born (Buimistru, 2010).

The photographer works on the coloring of color photographs in a completely different way than the artist-painter. But they have only one goal, and final result, obtained by various means, has much in common. Both the photographer and the artist strive to convey the truth of life, to reveal the topic in a picturesque and expressive way. Both operate with colors, achieve color harmony, richness and consistency of color shades (Ivanov-Alliluyev, 1971).

Colors and tones of the subject of shooting does not require any special evidence for the assertion that the colors and tones of the selected subject are the basis for the color of the future photographic image (Wright, 2010; Wade, 1989).

The chain of mountains (Fig. 26, 27, 28) on the horizon seems to be a bluish color transition to the sky, on the contrary, bright colors, and especially the contrasts of light and dark, prevail next to the observer. When removed, the color "shrinks" as it were, giving something like the main mood of the picture. For example, look at a tree: due to the color, its crown seems almost uniform, although individual detailed forms become more and more distinct. If we squint our eyes a little, these detailed shapes will become clearer and there will be stronger contrasts of light and dark. Our eye brings the big picture closer. The same thing happens when studying a landscape, in which, with increasing depth of space, a light blue color in the distance mixes into all color valers (color refraction with blue and white) (Buimistru, 2010; Wade, 1989).

Fig.26.

Fig.27.

Rice. 28.

It turns out that with the help of color and geometric constructions on the plane of the picture, you can depict the whole space (Belov, 2012).

As mentioned above, in the section on perspective, objects get smaller as distance increases. It turns out that objects also lose their color brightness; it seems that objects in the distance are shrouded in a blue mist. As you get closer to the viewer, the color contrasts become stronger, the contrasts of light and dark are more clearly defined, additional contrasts "suppress" the contrasts of warm and cold tones. It follows from this that red, orange, yellow (warm colors) colors act as optical approximations. Cold greens, blues are like neutrals, and blues are like distant ones. Therefore, the blue sky or dove-gray distances are always perceived as distant objects, greenery steadily occupies the middle plan, but what to place in the foreground needs to be thought out with. It can be red and brown stones, red

or yellow flowers or other objects in the named color scheme. It turns out the foreground is warm, the middle is neutral, and the back is cold (Buimistru. 2010, Belov. 2012).

But the most decisive here is the observation of the corresponding image situation, due to a uniform change in brightness, for example, the transition of blue to white, an additional impression of spatial depth in the frame appears. Remoteness (Belov, 2012; Morozov, 1985).

From the above, we can conclude that tonal perspective is one of the important means of conveying space in a photograph and at the same time an important component of the overall color of a photographic work. So landscapes do not turn out flat, but rather seem more voluminous. The depth of space appears (Dyko, 1977; Buimistru, 2010).

Good lighting is also of great importance for the beauty of the frame. This raises the problem of exposure metering, so for safety

complex landscapes, which have a huge brightness latitude, need to be shot with correction: first with the correct exposure, and then, just in case, with two overexposures and two underexposures. For some reason, amateur photographers like to shoot landscapes from 11 am to 3 pm in midday lighting. The sun at the same time is almost vertically above the head of the photographer and provides the most unfavorable illumination of the landscape. Professionals shoot only in the morning light - from 7 am to 11 am or in the evening from 3 pm to 7 pm (at these hours the sun gives beautiful side lighting) (Kharman, 2011; Morozov, 1985).

Impressively effective is the backlighting that occurs with the oncoming rays of the setting sun. In order to correctly set the aperture shutter speed, the exposure meter is covered with some object - let it capture the rest of the space, except for the sunbeam (Morozov, 1985; Wright, 2010; Wade, 1989).

Conclusion: the competent use of light by a photographer can create a masterpiece from shooting the most ordinary landscape, and inept use can ruin beautiful landscapes. Light expresses the mood of nature, which is easily transmitted to the viewer. Bright sunlight gives a joyful mood, cloudy weather causes minor feelings and thoughtfulness, and diffused light in the fog evokes a pleasant feeling of mystery (Belov, 2012).

In addition to all of the above, in the landscape, as in any other genre of photography, the composition of the frame is of great importance. To create a harmonious composition of the frame, first of all, you need to choose a good shooting point or move the camera a little to the side in order to achieve some unexpected effect by capturing new objects in the frame. The basic rules of composition are based on the peculiarities of the gaze of a person, a viewer, who moves across the frame from left to right, stopping before the edge. The main rules are highlighting the main thing in the frame. Before you take a picture, you need to calmly consider the landscape and choose the main object on which the photographer's attention is focused. The photographer determines for the Saami what images and phenomena in the life of nature he should convey to the viewer (Levkina, 2013; Dyko, 1977).

The rule of the golden section. This rule was used even by the builders of the Egyptian pyramids. It is based on that. That certain points in a picture composition automatically attract the attention of the viewer. Regardless of its image format. There are four such points and they are located at a distance of 3/8 and 5/8 from the corresponding edges of the frame (Fig. 29, 30) (Belov, 2012; Kursky and Feldman, 1981).

Rice. 29.

Rice. thirty.

According to the golden section rule, you need to place lines and objects not in the middle of the frame. And a little on the side. When applying the rule of the golden section, it is necessary to remember the horizon line. Which should be on one of the lines of horizontal thirds: top or bottom. This rule is called the "rule of thirds" (Fig. 31) (Belov, 2012; Kursky, Feldman, 1981).

Rice. 31.

The horizon line in this photo is at the top of the horizontal thirds. The horizon line should not divide the image into two equal parts. It is necessary to compose the frame so that the sky occupies either one third or two thirds of the frame. The ideal ratio of sky and landscape proportions is 1:2, but it is necessary to remember about exceptions (Lapin, 2005; Belov. 2012).

Diagonal rule. This rule states that the important elements of the image should be set along the diagonals of the frame. The viewer's eye does not move parallel to the edges of the frame, but diagonally. Consequently, the arrangement of individual lines of the scene along the diagonals is perceived harmoniously and allows you to link the contents of the frame (Dyko, 1977; Levkina, 2013).

Diagonals are "ascending" and "descending". Ascending diagonals are directed from the lower left corner to the upper right and carry an optimistic meaning, hope and development (Fig. 32). Descending diagonals, directed from the upper left to the lower right corner, carry a pessimistic attitude, a sense of completeness (Fig. 33) (Dyko, 1977; Levkina, 2013; Belov, 2012).

Rice. 32.

"Beginning of life"

Rice. 33.

"Janhot. Road to the sea"

Rice. 34.

Diagonals are represented by mountain slopes.

The main feature of mountain landscapes is that there are more than enough natural diagonals in the mountains (Fig. 34) (Belov, 2012).

If you look around, you can see that the world around us is filled with horizontal-vertical axes, which is why it is so important and necessary to break this boring order (Fig. 35) (Belov. 2012).

Rice. 35. Frame Diagonal Rule. Rising Diagonal. "A family"

We continue to acquaint our readers with the best contemporary photographers. Today we will talk about the genre of landscape. So, read our review, share it with your friends and get inspired by admiring the works of landscape masters!

Dmitry Arkhipov

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A native Muscovite Dmitry Arkhipov has been fond of photography since childhood. A physicist by education, Dmitry served in the army, worked at the Institute for Space Research under the Buran program, created his own well-known IT company, while continuing to improve in the field of landscape photography.

The results of his travels to 108 countries of the world were five solo exhibitions, where Dmitry's works were seen by more than a million people. Now Dmitry Arkhipov is a titled photographer, a member of the Union of Photographers of Russia, winner and laureate of national and international photo contests.

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Denis Budkov is a native of Kamchatka, since 1995 he has been traveling and photographing his motherland. Love for nature and the desire to show all its beauty became an incentive to learn the basics of photography and improve skills in practice. Denis's main passion is volcanoes, which are so rich in the nature of Kamchatka. The volcanic eruptions and peaceful Kamchatka landscapes captured by him have already received awards from the prestigious photo contests Best of Russia 2009, 2013, Wildlife of Russia 2011, 2013, Golden Turtle, Wildlife Photographer of the Year - 2011. Denis says that photography for him is a way of life, which is completely satisfactory. The main thing is to wait for the right moment to make the same frame.

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Mikhail Vershinin became interested in photography as a child; he had to give up visiting the photo studio in favor of another hobby - rock climbing and mountaineering, but even on sports routes he took a camera with him. Craving for travel in wild places and passion for filming eventually led Mikhail Vershinin to landscape photography. He explains his choice of this particular genre not only by a craving for nature, but also by a special mood, the ability to convey feelings and emotions with the help of a captured moment. The works of Mikhail Vershinin have repeatedly become finalists and winners of Russian and international competitions, including " national geographic Russia - 2004" and FIAP Trierenberg Super Circuit - 2011 in the "Night Image" nomination.

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Oleg Gaponyuk, a MIPT graduate, lives and works in Moscow and has an unusual hobby - panoramic photography. For the sake of a good picture, he can easily go to the other side of the earth, while skiing, windsurfing and diving along the way. Despite the fact that his sports hobbies are associated with mountains, seas and oceans, in the field of photography, Oleg became interested in creating spherical panoramas in the air. He is actively involved in the AirPano.ru project, within which more than 1,500 bird's-eye panoramas have already been made in the most interesting cities and corners of the world. In terms of the geography of shooting, the number of aerial panoramas and the artistic value of the material, this project is one of the world leaders in this type of panoramic photography.

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MIPT graduate Daniil Korzhonov prefers to call himself an amateur photographer, because he simply does what he likes. Photography allowed him to combine his passion for painting and love of travel. As a landscape photographer, he visits the most beautiful places in the world and “paints” what he sees on film. Combining photography with travel allows Daniil to lead an active lifestyle and express his thoughts and feelings through beautiful and original shots taken both in the wild and on the streets of cities. He advises all novice photographers to shoot as much and as often as possible in order to better understand the surrounding beauty of the world.

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Vladimir Medvedev - founder of the Wildlife Photographers Club, tireless traveler, professional photographer, winner of international competitions including the 2012 BBC Wildlife Photography Competition for the Eric Hosking Portfolio Award. Cooperation with wildlife reserves around the world allows Vladimir to take unique shots of the virgin world and its inhabitants. According to Vladimir Medvedev, photography is both an art, a means of understanding the world, and a means of influencing the world. Starting photography is easy - you just need to buy a camera and learn from the best.

Yuri Pustovoi

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Yuriy Pustovoy is a graduate of VGIK, a cinematographer at the Odessa Film Studio with ten years of experience and a distinguished travel photographer. His work was recognized by the jury and visitors international exhibitions and photo contests, in the treasury of Yuri's awards is the Gold Medal of the International Federation of Photography FIAP Global Arctic Awards 2012. Yuri Pustovoy is not only a traveler and photographer, but also an organizer of photo tours for real amateur photographers and beginners. Landscapes from various parts of the world fall into the scopes of cameras of Yuri and his team. During the tour, Yuri shares his photographic experience, helps during filming with advice and deed, teaches how to process photographs in graphic editors.

Sergey Semenov

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Sergei Semyonov became interested in photography in 2003, when for the first time in his life he fell into his hands digital camera. Since then, he has not only devoted all his free time to this hobby, but also turned photography into a profession, exchanging a career as an economist for the fate of a travel photographer. In pursuit of the most beautiful views of the land, Sergey visits the national parks of North America, the mountains of Patagonia, the ice lagoons of Iceland, the Brazilian jungle and hot deserts. He shoots his favorite landscapes from a bird's eye view and is an active participant in the AirPano.ru project. In his first panorama, Sergei showed the Kremlin as birds see it.

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The Belarusian photographer is known as a master of the landscape genre. Like many of his colleagues, he believes that beauty is everywhere, and the photographer's skill lies in showing it to the viewer. He is characterized by exactingness to himself and the quality of his work. You will be surprised, but sometimes Vlad comes to the same place several times to achieve the right lighting and shoot a great shot. And yet, Vlad has been reading our magazine for a long time and regularly shares his photos with our entire audience.

Alexey Suloev

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Aleksey Suloev got his first camera at the age of seven and quickly got used to taking pictures of everything around him, especially since his passion for tourism allowed him to find himself in the most unusual, undeveloped places in the Caucasus, the Pamirs and the Tien Shan. Gradually, tourist trips turned into real photo trips. In pursuit of unusual shots, Alexey has already visited more than a hundred countries, the geography of his trips includes the most inaccessible and untouched places on our planet from the North to South Pole. Alexey shoots because he cannot describe in words the beauty and diversity of the earth. He generously shares everything he sees with his audience so that everyone can find creative inspiration in the inexhaustibility of nature.

Greetings, dear readers! In touch with you, Timur Mustaev. Some amateur photographers consider landscape to be one of the most elemental genres of photography. To some extent, I share their point of view: go where you like, but shoot everything that comes into your head.

Plus, unlike studio shooting, which requires considerable financial costs, nature will not disappear and will not require anything in return, except for caring for it, and the situation changes depending on the time of year, giving scope for imagination.

But is the landscape really that simple? Let's figure it out together.

And let's start the debriefing, perhaps, with the definition of this genre and its place in human reality.

landscape in photography

Landscape- This is a genre in which the center of the image is nature.

This direction originated in the era of the absence of cameras, when well-known and not so famous artists went to the open air and conveyed what they had taken away with the help of brushes and paints.

That is why understanding the meaning of this genre should be learned from realist artists.

Pictures, like nothing else, allow you to feel the beauty of nature, they are inextricably linked with inner world a person, with his feelings, mood and love for life in general.

And in photography, a landscape is not a thoroughly accurate redrawing of this or that corner of nature, but its own worldview.

Modern landscape photography is quite versatile. Exhibitions of such materials instill in the viewer an artistic taste and develop the imagination by drawing associative parallels between real life and pictures.

The relationship between photography and life has given rise to a new direction - the urban landscape, in which the dominant is not nature, but the brainchild of society - the city with its numerous streets, architectural objects, squares, as well as an endless stream of cars and pedestrians.

The urban and classic landscape captivates even the most stingy photographers! And there is an explanation for this: shooting in this genre, you can get excellent shots without using expensive equipment.

All you need is desire, patience, a tripod, a SLR camera, and some skill in using it.

Shooting in this genre, as, in fact, in any other, is, first of all, a creative process, accompanied by your own vision of what is happening, but, oddly enough, there are many rules, the observance of which will save you from failures.

Landscape photography

Close your eyes for a moment and imagine: there are vast expanses of unprecedented beauty in front of you and it seems that as soon as you press the shutter button, the most beautiful image that the world has never seen will appear on the camera display ...

Capture this episode in your memory and open your eyes, your fantasy will remain a fantasy, and you will never know how to photograph a landscape if you neglect the rules listed below.

• Maximum Sharpness. Many photographers practice shooting landscapes wide open, but "many" is not a good indicator of good work.

A classic technique during landscape photography is focusing on the entire image (shooting with a covered aperture).

Usually it is enough to make simple camera settings to get a sharp and moderately exposed photo: a slider in the f / 11-16 region, or you can trust the machine if you shoot in . However, to avoid shaking, it is best to shoot landscapes with or .

• Presence of meaning. For any photo, it is important to have a semantic center of the composition, so that, as they say, the eye has something to catch on. Anything can serve as the center of attention: an interestingly shaped building, a tree, a mountain, a ship in the middle of the sea, etc.
• Rule of thirds in the overall composition of the frame. The location of the semantic center in relation to all the elements and details of the image is as important as the presence of sharpness.

The reference says: the photo looks most advantageous when the objects being photographed are conventionally separated by lines that divide the image into three parts, both along and across.

• Thoughtful foreground. Place the semantic centers on the front of the photo, leaving the “air space” in front, so you can create an effect of lightness and convey depth.
• dominant element. The secret of successful nature photography is revealed - either the sky or the foreground should dominate in the picture.

If your photos do not fit given description most likely, they will be considered boring and mundane.

If it so happens that the sky during the photo shoot is uninteresting and monotonous - shift the horizon line to the upper third, so you will not let it prevail over the rest.

But if it seems that the airspace is about to explode or collapse to the ground with lava flows - give it 2/3 of the frame and you will see how much the plot of what is happening can change.

• lines. There are endless ways to reflect the beauty of nature in full. One of them is the technique of including active lines in the composition. With the help of lines, you can redirect the viewer's gaze from one semantic point of the photo to another, while creating a kind of closed space.

Lines not only create patterns in the photo, but also add volume. This also applies to the horizon line, beyond which you constantly need an eye and an eye.

• Traffic. Many consider landscape shots to be calm and passive. But this is not necessarily the case! You can add life to a photo with the help of water or wind, for example, capture with a SLR camera a riot of the ocean or a flowing waterfall, a breath of wind or falling leaves from a tree, birds taking off or people walking.

The influence of weather and time on the quality of landscape photography

The golden rule of the landscape: "The scene and the plot can change dramatically overnight, depending on weather conditions and seasons"

It is a mistake to think that the best time for nature shots is a sunny day.

In cloudy weather, in terms of lighting effects, shooting is a pleasure: hail, rain with snow and thunderstorms can fill any landscape with an ominous, mysterious mood.

However, there is a side effect - the likelihood of getting your feet wet, getting sick and saying goodbye to the DSLR forever, since moisture can have a devastating effect on all electronics.

To avoid this, plan your day in advance, take your packing seriously: think about what to wear and what to wrap your camera in. For these purposes, it is best to purchase a waterproof case, or at least one that protects the lens from drops on the lens.

Shooting in the rain is not necessary - it's just one way to achieve artistic images.

This creates a very soft diffused light, giving the pictures a lightness and a special sleepy look.

A forest covered in fog will look much more mysterious and attractive than on a sunny day.

Although if the shooting takes place in the summer or autumn, the light penetrating through the foliage can create an interesting, wide aperture.

At sunset, using , you can take pictures of no less interesting landscapes, especially if the foreground is slightly backlit.

To avoid bunnies, use a hood or. This filter in landscape photography is simply irreplaceable.

Night shooting is technically the most difficult. Shooting nature in its full nature is pointless due to the lack of light. Therefore, you need to go where there are artificial light sources - the city.

In this case, you should not use the flash without interruption, raise the value to 800-1600 and go towards the city landscape!

A brief educational program on landscape photography has reached its point of no return! Hope, this article was at least somewhat instructive and helpful. I think that I have conveyed to you the meaning of how to photograph a landscape correctly in order to achieve the desired results.

If you are an aspiring photographer who wants to achieve positive success in photography, then everything is in your hands. To begin with, it is best to start with the concept of your SLR camera. And one of the video courses below can become an assistant. Most beginner photographers, after studying this course, have a different attitude towards the SLR camera. The course will help to reveal all the important functions and settings of the DSLR, which is very important at the initial stage.

My first MIRROR- for owners of a CANON DSLR.

Digital SLR for beginners 2.0- for owners of a NIKON DSLR.

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All the best to you, Timur Mustaev.

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

Shooting landscapes is one of the most difficult and problematic areas of photography. I will say that for me, an experienced photographer, shooting a landscape 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 kind of photography so challenging?

First of all, landscape photography must be creative in order to capture the mood and convey it to the viewer. If the technical side of the issue can be described, then the creative component of photography can only be advised - you need to develop your vision for truly unique shots.

Equipment

Let's start with the simplest. Which lens to choose? While great photos can be taken with any lens, it is still 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 look for a 10-20mm wide-angle lens; for full-frame cameras, there is a choice of 12-24mm, 16-35mm, 17-40mm lenses. A zoom lens is comfortable to use, but lenses with a fixed focal length will provide the best quality. In the EGF range 12-24 provides a wide viewing angle, and 16-35 and 17-40 provide a much smaller viewing angle, but they provide less optical distortion, especially at the corners of the image. Using ultra wide-angle lenses and a fisheye lens will make your shots more expressive and original. But shooting all the frames only by “fishing” will not be interesting, so it is good as an addition to the main lens.

When shooting landscapes, small apertures are almost always used to obtain a large depth of field: usually f / 11-f / 16. It is recommended to avoid very small apertures such as f/32, as this will result in poor image quality due to diffraction (an effect that reduces the sharpness and contrast of an image).

When shooting landscapes, use only manual focus, especially when shooting subjects in the foreground close to the camera.

The 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 extension 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, which can be sharpened in processing without fear of strong noise. Shutter Speed: As you can imagine, the combination of a small aperture and low ISO values ​​will give you a long shutter speed. Depending on the illumination, 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 serious about landscape photography, you should understand the need to use a tripod. A tripod is the main element that provides sharp, detailed shots, especially with long exposures. Moreover, a tripod allows you to carefully select and think over the composition. Using a tripod, it is possible to use a special technique that allows you to take amazing pictures: at sunrise or sunset, take a couple of shots of the same scene - the first exposure to the sky, the second to the foreground, then combine them - you get an original frame with the widest dynamic range. When shooting handheld, it will be impossible to shoot two absolutely identical shots.

When shooting landscapes, it is recommended to use filters - polarizing, and. UV and protective filters are useless as they can reduce image quality, reduce sharpness, and increase the chance of flare. When choosing filters, it is important to keep in mind that their use on ultra-wide-angle lenses (18 mm or less) can lead to an undesirable effect of uneven frame illumination and vignetting.

Getting ready to shoot

In many ways, the success of photography depends on how well you prepared for it. You need to carefully consider what might interfere with the shooting or force you to return. The more possible nuances you take into account, the more likely it is that you will focus entirely on shooting. Solve organizational issues: how will you get to the shooting location, where will you stay. If you are not planning to stay overnight, you still need to consider an overnight stay - you may not calculate the time, circumstances may change.

Dress in a way that clothes and shoes do not create inconvenience. Take an umbrella or a hooded jacket with you. Consider protecting your equipment in case of heavy rain. Have a flashlight handy. However, try to get out of the forest or mountains before dark, as spending the night there is not the best option. Get a map of the area, navigate by it and by objects that cannot be confused. It's good 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 the account mobile phone had money and his battery was fully charged. If you go by car, check the "spare tire", fill the tank with gasoline, do not leave in a broken car. Tell friends, relatives exactly where you are going (going) and the estimated time when you will return.

Check camera settings, battery charge, and memory card space before shooting. It is optimal to shoot in RAW by setting the white balance setting to auto, then you will select the desired balance in the converter. By varying the white balance settings, you can achieve more attractive colors.

Light

Light is an essential element in landscape photography. The right light can transform even a nondescript subject, while the wrong one can ruin even the best scene. Interestingly, many novice photographers believe that a clear sunny day and a cloudless sky are excellent conditions for shooting - but they are not - these are the worst conditions you can imagine for shooting landscapes. The best light is not bright, midday, but the soft light of sunrise or sunset. Shadows are crisp, colors are warm, rich and pleasing to the eye. Experienced photographers call this time .

You need to get up early and stay up late to capture the landscape in this light, but the result is worth it. Sometimes, you can get fantastic shots even before sunrise - it's quite possible to take beautiful landscape shots even at night. When possible, capture the moon in the frame - it will make it more interesting.

If you can't or don't want to wait until sunset or sunrise, shooting at noon is another strategy for getting the best 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. A polarizing filter in this case 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 a great shot by converting it to black and white, but not all shots will benefit from "discoloration". In black and white, frames that are rich in textures, edges, and other contrasting elements clearly win, while others may look “flat”. In any case, do not hesitate to experiment with contrast in post-processing in graphics editor(not intracameral!).

Midday shooting, at sunset or sunrise - is not the only time when a photographer can take a good picture. Even when the sky is covered with clouds or in heavy rain, you can get a great shot. Clouds and stormy skies will add the appropriate mood to the photo, allowing you to give landscapes an unusual look.

Mood

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

The two pictures show the same waterfall. The first picture 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 shot taken by a typical tourist. The second picture was taken on a day when no one would have thought to visit this waterfall. A cold autumn day, fog and rainy weather, which intensified the waterfall, filled the picture with mood - it fascinates.

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

Use a gradient filter to reduce the brightness of overcast, colorless skies and bring out the texture of clouds. This will give your picture extra dimension. When blue sky fragments are included in a cloud break, the effect of the gradient filter on them will be equivalent to the effect of the polarization filter.

Seasons

Each season of the year brings its own gifts to the photographer, so don’t put off shooting landscapes only for summer vacations.

SHOOTING IN AUTUMN, IN CLOUD WEATHER
When photographing rain, it is necessary to stop the lens a lot in order to shoot at a slow shutter speed. In this case, the raindrops will turn out in the form of stripes that will create the impression of rainy weather in the picture. You just need to make sure that rain drops do not get on the lens. Droplets will result in blurry images.

Spectacular landscapes can be shot 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, some dark object must be placed in the foreground frame.

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

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

Snow in a winter shot should be well-detailed. Therefore, when photographing a landscape in which snow takes up most of the frame, the exposure is determined by measuring the brightness of the snow. If snow and dark objects in the scene are equivalent from a visual point of view, the exposure is determined by their average brightness, but taking into account the 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 your "creative" eye in order to get decent shots.

The most common mistake beginner photographers make is placing the horizon in the center of the frame, resulting in a static and unbalanced image. The first step in improving composition is shooting the landscape according to the rule of thirds. We have already covered it in our previous composition lessons, but it will not be superfluous to remind. It's very simple - mentally divide the frame into three parts horizontally. And shoot in proportions 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 you need to remember about it.

2. Foreground and perspective

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

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

3. Other elements of the composition

There are many elements in nature that help create 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 guides. Look for guides and try to fit them into the composition.

Patterns (repeating shapes) and textures are other elements in the composition. It is not easy to see natural patterns in nature, but various textures are common: small particles of sand, tree bark, stones and many other interesting objects will help make the picture more interesting.

The main thing in the frame

Determine what will be the main thing in the frame. It can be a lonely tree, a rock, a mountain, a picturesque forest, a slope, a road. Using the composition grid on the LCD monitor (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 picture: foreground, middle and far - so the landscape will look more voluminous, and the space will be transferred better. The foreground must be drawn clearly, in detail, the background may well be blurry, hidden by atmospheric haze.

Try not to make the landscape "empty". Empty space should be filled as much as possible. In the sky, this filler can be clouds. In the foreground - shrubs, tall grass, stones, leaves, branches, animals.

Do not try to put everything you see in 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. Look for open spaces in the forest.

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

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

When photographing a landscape, always pay attention to the fragments, because it is not at all necessary to shoot only wide shots. A careful look can highlight an interesting part of the landscape, beautiful and expressive details. But do not get carried away with strong zooming - here you need to maintain the integrity of the fragment, otherwise the picture will turn out to be torn out of general plan abstract piece, devoid of meaning.

Panorama

Finally, practice shooting panoramas. Here you should be guided by several rules. All future frames of your panorama should have the same scale of the subject being photographed, so do not focus closer or further than it. The aperture value should be left constant. Frames need to be done 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 the bracketing feature in your camera to avoid exposure errors.

Shooting water

If it is necessary to photograph water, covered with ripples or a small wave, then it is taken with counter-side illumination 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 brilliant stripes. But you need to make sure that the sun does not fall into the field of view of the lens.

The sea is better to shoot from a high point. Then the water space occupies a significant part of the frame, the photo is 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 remove flowing water with a short shutter speed. In this case, there is a slight blurring of the image, 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 environment is transmitted most effectively. Cloudy weather also contributes to more expressive shots.

On sunny days, the subject should be chosen with a dark foreground, the brightness of which determines the exposure. In this case, the distances will be somewhat overexposed and come out on the print lighter than the foreground, which will emphasize the depth of space, fill the landscape with a feeling of air, 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 - in front, the picture turns out to be very contrasting, details, especially in the foreground, disappear.

Photographing a mountain landscape during the day at a high position of the sun brings out the details of the image, without sufficient contrast.

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

To get glare on the surface of the glacier, you should photograph with backlight.

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

A beautiful landscape is based 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 the photographic!