What are the skills of product shooting?
1, the idea of shooting transparent objects
Transparent objects can be divided into translucent objects such as plastic products, frosted glass products and jade articles and transparent objects such as glass products, glassware and crystal products according to their transparency.
The key to shooting such objects is to form transmitted light with backlight. According to the intensity of light, the degree of light penetrating transparent objects is also different, thus making the objects thick or clear. Therefore, when shooting transparent objects, the use of transmitted light determines the effect of the whole photo. In addition to the transmission backlight used as the main light, it is sometimes necessary to arrange auxiliary light. Especially when shooting in front of a white or black background, the lines of the object should be outlined with the help of auxiliary light. Usually when shooting in front of a white background, dark lines should be added; When shooting in front of a black background, light should be formed on both sides of the object through light distribution. When shooting a translucent object, you can put other small items in the object as needed to emphasize the translucent texture. Because the objects inside look fuzzy, they can show the translucent feeling of the objects and add hazy beauty to the picture.
2. Use bottom lighting to make transparent objects feel crystal clear.
In still life photography, glasses, wine bottles or other transparent objects are common subjects. To shoot such a transparent object well, you can use the following methods. Put a transparent object on a transparent glass platform, arrange a lighting lamp under the glass platform, and use white paper or white cloth as the background of the object.
3. Draw the outline of a transparent object with backlight.
Another common performance effect when shooting transparent objects is to use backlight to outline the object.
The key point of shooting scene layout in this way is to use black reflector and black background cloth, and put black back when shooting.
The scene is arranged behind the main body, and the area should not be too large. Black light-absorbing plates should be placed on both sides of the object to make the transparent object after imaging have a hollow and transparent feeling. However, the light used to outline the edge of an object is usually reflected backlight or side backlight, and the color of the light can be adjusted according to the color of the light or the color of the reflector.
4. Skills to highlight the texture of goods.
In commodity photography, the expression of texture is particularly important, and it is also one of the criteria to measure the success of a work. Perfectly highlighting the texture of an object also means highlighting its unique temperament. When shooting, you can choose objects with distinct texture, such as glass, porcelain, jade and other products. Compared with other still lifes, these objects are difficult to shoot because they are highly reflective, especially in high-profile processing. If it is not handled properly, it will easily lead to shooting failure. However, if they succeed, the appreciation of their pictures is self-evident.
We should pay attention to the following four points when shooting this kind of theme.
(1) Adjust the white balance before shooting to avoid chromatic aberration.
(2) It is best to use different degrees of soft light. If the direct light is too stiff, dazzling light spots will easily appear on such objects, which will affect the aesthetic feeling of the picture.
(3) When shooting a high-definition picture, you can increase the exposure of 1 under appropriate circumstances, so that the picture will appear brighter and have a stronger sense of transparency.
(4) When the reflection on the surface of the object is strong, the use of polarizer can greatly reduce this situation. For example, you can consider using a polarizer to shoot glassware. Photographers use soft light to shoot watches and install polarizers in front of the lens to reduce the reflection on the glass surface, so that the texture and three-dimensional sense of the watch are well presented. Focal length: 135mm aperture: f/ 10 shutter speed:1100s sensitivity:100.
5. Shooting skills of metal themes
Metal products are common items in our life, such as stainless steel products, aluminum products and iron products. Some metal products have a dull surface, while others are shiny. Shooting gloomy metal products can be directly illuminated by front light, and the dark parts that cannot be illuminated by front light can be illuminated by reflector or astigmatism lamp as auxiliary light.
When shooting metallic products with shiny surface, if direct light is used from the front, it will produce dazzling light spots, which will affect the imaging effect. Usually, the light will shine on the white reflector and shoot with soft reflected light; You can also shine light on the soft cloth on the side of the still life box to soften the light. At the same time, in order to express the texture of metal, you can also directly illuminate metal objects with a low-power illumination.
Create a combination
Photography creation is a kind of mental work, with at least fixed exceptions and at least routine changes. When a photographer's mind is attracted and possessed by a real emotional image and has the ability to stay there and express it with visual images, he will create a good composition. Photography creation is inseparable from composition, just as writing an article is inseparable from layout and composition, which is one of the important factors for the success of a work. The relationship between creation and composition is so close.
1, Formation of the theme
The original intention of creation is the activity of artist image. The reason why art is different from the reappearance of life lies mainly in creation and imagination, including the passion and creativity of the photographer's perspective, as well as the thinking and generalization of images. There is no doubt that every photographer may be occupied or excited by some thoughts and feelings at any moment in his life, and sometimes these thoughts and feelings make him hard to get rid of. So I began to look for this expression of thoughts and feelings in the real life environment. Photographers create photographic works of art in the moment of life, which is a strange and high-spirited form of passion. So some people call this passion "inspiration". This kind of inspiration, psychologists believe, is a psychological phenomenon in creative activities. Inspiration is the creative ability that generate suddenly emerged because of the high concentration of thoughts. However, inspiration does not come out of thin air, but often comes after some hard thinking. The arrival of inspiration is often accidental, and sometimes it is inadvertently triggered. There are many opportunities for inspiration, and the role of various inspiration factors is actually to make the photographer's thoughts and feelings flow in the imagination, to make the unformed thoughts and feelings clear, and to find a beautiful form of emotional expression. Comrade Zhou Enlai once said, "Long-term accumulation, accidental acquisition", and he explained, "This accidental acquisition is based on long-term life and cultivation. From common things, only talented artists can discover beauty and create beauty. " As Rodin said, "beauty is everywhere, and only sincere and emotional people can find it." Life and beauty are closely linked, and everything in life is influenced by beauty. The key lies in the artist's sensitivity and imagination. The artist's sensitivity to ordinary people comes from his constant observation of life and artistic accomplishment.
The theme of photography creation comes from life. The formation of the theme makes photographers have stronger creative desire and impulse. The theme is the soul, which belongs to ideology. "Intention first" means that you must have ideas before taking pictures, and meaning is also the theme. The formation of the theme can not be separated from social practice. One is gradually cultivated by photographers in long-term life practice, and the other is extracted from materials.
2. The relationship between theme and composition
After the theme is established, artistic conception is the most active stage of image thinking. Although there are images in this stage, it is not a practical stage. Therefore, in fact, there are still some details or characters that may be omitted, and to complete the creative intention, we must specifically describe the images and pictures in the creativity. How to express it is a question of skill, but skill is an integral part of the whole idea, and the maturity of the idea depends on the depth of understanding. In order to gain expressive force, the artist said on the screen that he should look for the combination of "modeling motivation" objects and various changes to find the best one, which is composition.
The conception of the work is reflected in the work. There is no composition without conception, and the process of composition is the process of conception development and theme deepening.
Every artist lives in the real world and has his own rooted soil-people and life. Without this fertile soil, the tree of life will wither and the light of art will go out. Works always reflect the author's feelings, thoughts, judgments and conclusions about life. Through the works, we can see the author's literacy, thoughts, personality, interests, demands and wishes. Behind the work is the author's personality. In the realistic creative activities, the image has a strong personality.
Composition has its own rules and methods. Photographers make compositions according to their innate sensitivity. Plastic arts are visual arts, and the quality of composition can be distinguished by eyes. The characteristics of composition in quality should be that the audience can immediately feel the author's intention without looking at the title of the work, introducing or commenting. The author can't express his thoughts by words, but by the structure of people, events, scenery and the whole picture to express his feelings and passionate love for life. The theme of the work is reflected by the vivid typical image with distinct personality created by the author. Only in this way can the audience have a real feeling of hearing voices, seeing people and being there.
Therefore, before the composition process of photography creation, we should first look for the motivation of creation (the motivation of conception and the motivation of modeling). Composition is a process of creating artistic works, and composition is the synthesis of all factors of artistic works. This kind of synthesis can show the author's thoughts and intentions more comprehensively and forcefully, that is, the process of reflecting the author's thoughts into the form of artistic works that can be felt. Therefore, composition is to connect all the elements of form according to the content of artistic works.
Composition beauty under the golden section composition
If we have defined the composition form and human body proportion of the golden section, we can arrange the subject in the golden section proportion when shooting, so that the subject's figure or face conforms to the golden section. Below I will analyze how beauty and composition should be combined under this composition form through a series of examples.
The body and face are on the golden section line or the golden section point.
When the beauty of the subject focuses not only on the face, but also on some body language or eyes, props, environment, sense of space and so on. The picture needs a certain space to express. In the example (Figure 4), the model's raised arm brings an elegant arc, making the body center of gravity fall in the middle of the arm. In order to get a complete picture and balance the weight of the picture, I choose to put my elbow in the center of the picture and the model's face on the golden line on the left. (Figure 5), the hand of the model is raised upward, and the props in the hand form the center of the picture, so that the composition can be made in the center of the picture and the face can be arranged at the golden section on the left.
Adjoint role
The position and function of the companion in the picture
Accompanying body refers to an object that forms a certain plot with the subject on the screen and helps to express the characteristics and connotation of the subject. Some objects organized on the screen are in the company position, and they form a plot with the subject, which plays an important role in deepening the connotation of the subject and helping to explain the characteristics of the subject. Visual language will be much more accurate and vivid because of the accompanying body on the screen. Its function has the following characteristics:
1, accompany me to deepen the subject connotation. From the work Fan of Technological Innovation, it shows that the main body of the picture is two workers. With the machine gear and the rice on the table, the machine, the workers and the rice together constitute the plot of technological innovation. As a companion, beside the big machine, there is a rich meal on the workbench, and the workers concentrate on their research, which makes the plot contain many connotations. Machines and meals on the table are the image language of workers, which reflects the true portrayal of workers forgetting to eat and sleep in the four modernizations. The visual language that the companion helps to express here is difficult to express in words.
2, the picture processing companion, in essence, is to deal with the plot. The choice of escort should be able to describe the characters and explain the characteristics of the event, that is, it should be typical (such as "Old Age Music").
3. The arrangement of the picture partner must be based on the principle of not weakening the subject, and can't pretend to be the master. The area occupied by companions in the picture, the arrangement of colors, the direction of lines and the movements of characters must be closely related to the subject and cannot be separated from it. Because the layout of the picture is light and heavy, the accompanying body on the picture is often incomplete, and only the part that can explain the whole time is enough. Accompanying the whole body will weaken the main body. Don't covet perfection. We should proceed from the actual effect and choose the appropriate limit.
4. There are also direct and indirect treatments for companion. Sometimes you can't see the accompanying body directly in the painting. Although we say that the foil is a subject plot object, some objects are not in the picture, but outside it. The action expression of the subject on the screen is related to an object outside the screen. Although this object is not displayed on the screen, it will definitely appear in the viewer's imagination. This kind of performance is called the indirect performance of peers.
For the indirect treatment of peers, it is important to skillfully arrange the media to guide imagination.
The indirect treatment of the accompanying body is an artistic technique to construct the picture, which can expand the living capacity of the picture, create paintings outside the picture, let the imagination of the viewer participate in the creation of the meaning of painting, and arouse the room for appreciation and aftertaste. Therefore, the structural drawing should be viewed from the outside, the picture is outside, the picture is limited, and the painting is limited. Some classic paintings give us examples, such as "Deep Mountain Temple", which only depicts a young monk carrying water down a mountain stream; "Zhusuo Xiqiao Selling Pavilion" only wrote a wine word on the bamboo tip; In "Walking Flowers and Returning to Horseshoe Fragrance", the horseshoe fragrance is not in the picture, and the picture only shows butterflies flapping in the horseshoe, leaving it to the audience to imagine. These artistic ideas in painting are worth learning by photographers in conception and structure. When selecting and processing pictures, we should also consider the aesthetic requirements of lyricism, philosophy and implication, and learn to deal with the accompanying body in an indirect way to strengthen the expressive force and appeal of photographic pictures.