评论 | 刻意光影渲染有时可能“画蛇添足”

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Original title: Comments | Deliberate light and shadow rendering can sometimes "draw a snake"

No one denies that photography is the art of using light. From the meaning of "lighting" to "lighting" to the important role of light in the performance of the main body of the image, the interests of all believe that all experienced photographers will understand. But we will also see a photographic phenomenon of "the ball is cool with this", that is, more photographers will think of "just fighting for the day" when shooting any subject, that is, using the light effect of one morning and one night to shoot The subject exhibits a different light effect and creates a visual aesthetic.

The photography method of "just fighting for the day" must be tried and tested, and surely it is not lost. Of course not. Is the photography method of "just fighting for the day" necessarily correct? Of course not even. The dialectical relationship between "accurate exposure" and "correct exposure" that people often say can just prove that "just fighting for the day" is not the only feasible way of photography. For example, for the photographic performance of Huangshan, a scenic spot that is most concerned and loved by photographers, most of our sights focus on the panoramic view and the performance of the sea, the sunrise and other meteorological features. Cultural connotations, etc. most photographers did not give more attention or even turn a blind eye, not to mention the visual effect like the famous photographer Huang Xiang's famous work《黄山雨后》more than 60 years ago. This also proves from one side that many photographic enthusiasts who are early and greedy are too focused on the rendering of light and shadow, too much to take the visual effects of brilliance and magnificence as a matter of course. In fact, for the visual performance of any kind of subject, external rhetoric such as light and shadow rendering can only be used in the right medium and appropriate use. For deeper photography, sometimes it can only be regarded as a popular custom. The way it exists. Why do you say this? It is because many times the deliberate light and shadow rendering will make the subject lose its original charm, allowing the viewer to see more external aesthetics and lose the inner image.

xx以黄山为例。我们可以看到100多年的黄山摄影杰作和代表作品。只有那些来自沙龙的人更注重光影渲染,许多着名作品都有着深刻的影响。着名的山地气象与心灵中的景观感受的差异值得我们借鉴和反思。然而,许多人受到视野的限制,并且没有更深入地阅读和研究该主题的摄影方法。同样,近年来,以“东方诗黄山意象”为主题的几个摄影工作室,无论是拍摄黄山本身还是拍摄黄山脚下的河流和村庄,最终的结果都不是直接在日出和日落时分组。以光为线索,大多数摄影师通过讲师的讲座和个人突破性的想法收集完成的风格,这可以为我们提供几乎相同的时间和空间的山。我相信黄山的许多摄影专业人士,专业摄影师和当地摄影师都会在这个转型创作中获得更多的想法。据信,几天内完成的黄山视频作品仍将超越传统的云海日出场景,不仅给人一种新鲜感,还为观众提供了切入的思路。黄山的文化魅力和自然魅力。如果光影展示要看外观,那么由类似研讨会的活动引导的深入创意方法就是试图渗透到它中。

件是阴天漫射光。

蛇来增加一只脚“,所以拍摄远比选择阴天凝聚山水环境在一幅安静的画面中更好,更能展现图像本身的质感和强度。

有很多例子。我们不否认正确使用光线可以为照片增添光彩。例如,已故的香港香港摄影师何伟拍摄香港的街头生活或安静的风景,让我感到惊讶的是光影氛围的概念。这是因为他以自己的方式找到了一种独特的视觉语言,并将中国传统绘画的图像解构应用到了更加极端的层面。同样,一些着名的街头摄影师也会利用大光的街灯和影子来创作一幅画面,让环境和人物恰到好处。这些照片远不只是早晚拍摄,有时中午拍摄的视觉效果非常生动。有些人可能会说萨尔加多的《创世纪》系列也有很多生动的图片,但如果我们看一下他关于这个主题的作品,我们会发现这个应用只适用于人类。生活环境的视觉表现的一小部分是适当主题的适当视觉呈现。其他作品也受时间和方向的控制,没有刻意渲染,而是主题。和申请。

经过这么多,我想说,面对拍摄主题和拍摄主题,我们应该考虑如何最大化其功能并最大化其作为本体的意义,而不是陷入其中。寻找有意创造的凉爽和温暖的色调和轻松的氛围。

文章发表在《中国摄影报》201936th第2版

作者:奚水

编辑:唐宇

免责声明:如果需要复制本文的内容,请联系作者进行授权

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