What is the dynamism of a landscape. Static and dynamic composition
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Static and dynamic composition
Composition (from lat. Compositio) means composing, combining a combination of different parts into a single whole in accordance with any idea.
This refers to the thoughtful construction of the image, finding the ratio of its individual parts (components), which ultimately form a single whole - a complete and complete image in a linear, light and tonal structure.
In order to better convey the idea, special expressive means are used: lighting, tonality, foreshortening, as well as pictorial and various contrasts.
The following compositional rules can be distinguished:
1) transmission of motion (dynamics);
2) rest (statics)
The techniques of composition include:
1) transmission of rhythm;
2) symmetry and asymmetry;
3) the balance of the parts of the composition and the allocation of the plot-compositional center
Statics and dynamics are used to express the degree of stability of a compositional shape. Such stability is assessed purely emotionally, according to the impression that the form makes on the viewer. This impression can come both from the physical state of the form - stable or dynamic, associated with the movement of the object as a whole or its parts, and the compositional (formal) number.
According to the degree of visual and physical stability, the form can be divided into the following four types.
1) Visually and physically static forms. By the impression they are made, they are assessed as extremely stable. These include: a square, a rectangle, a parallelepiped placed on a wide base, a cube, a pyramid, etc. A composition made up of such forms is monumental and extremely static in nature.
The main types of static forms:
Symmetrical shape
Metric
With a slight offset of elements
With the combination of equal elements
Lightweight top
Slightly skewed elements
Horizontal division
Equal arrangement of elements
With large contiguous elements
With a large head element
Symmetrical arrangement of elements
With dedicated center
2) Physically static, but visually dynamic forms, assessed in this way by the impression of their some imbalance. This assessment concerns stationary forms, directed, for example, in one direction, with broken symmetry and other properties specific to dynamic compositions.
The main types of these forms:
Form with off-center axes
Rhythmic character
Perpendicular arrangement of elements
Parallel arrangement of elements
Lightweight bottom
Distorted view
Diagonal articulation
Free arrangement of elements
Extruded elements
Inclined arrangement of elements
Asymmetric arrangement of elements
Included in open space
3) Visually static, but physically partially dynamic forms. They have a stable base in which individual elements "move". Often in the practice of design, such a "movement" is due to the peculiarities of the functioning of objects, the real movement of individual parts in them. Moreover, their composition as a whole is static in nature. An example of design practice is the shape of a moving shuttle loom. In formal composition, it is visual movement in a static form of individual elements.
4) Visually and physically completely dynamic forms. They are typical for many modern moving design objects, primarily various vehicles. Often these forms actually move in space. Their structure often changes. Compositionally, they are characterized by an extremely dynamic, impetuous character. In formal composition, these are the so-called flexible, open, and combinatorial forms that change in structure.
Means of composition include: format, space, compositional center, balance, rhythm, contrast, chiaroscuro, color, decorativeness, dynamics and statics, symmetry and asymmetry, openness and isolation, integrity. Thus, the means of composition are all that is needed to create it, including its techniques and rules. They are diverse, otherwise they can be called means of artistic expression of the composition.
Static compositions are mainly used to convey peace and harmony.
To highlight the beauty of objects. Maybe to convey solemnity. A calm home environment.
Items for a static composition are selected close in shape, weight, texture. Softness in tonal solution is characteristic. The color scheme is based on nuances - similar colors: complex, earthy, brown.
The center, symmetrical compositions are mainly involved.
The colors are soft and complex. Everything is built on nuance. The items are the same in texture, almost the same in color. The overall lighting solution unites them and creates an atmosphere of tranquility and harmony.
Static is an expression of calmness, stability of form. Static are objects that have a clear center and in which the axis of symmetry serves as the main means of organizing the form. This form is perhaps not as effective as the dynamic form. Movement is more impressive than calmness. The static form is usually not only symmetrical (well-defined center), but also has a large mass. We invest in the concept of static as something necessarily heavy and large.
Movement and expression can also be conveyed by showing the irregularity and instability of the composition. It is customary for us to recognize the position of rest and staticity. We can always tell if the body is in equilibrium. The imbalance in the position or shape of an object gives us a presentiment of movement - we expect a series of actions.
While waiting, the form is visually destroyed. Of course, it is difficult to define the outline of a form in motion, since we usually rely on its outline in a fixed space. Thus, a destroyed or erased contour can be used as an indicator of movement. It is customary to call a form, as it were, invading space, dynamic. If dynamism is pronounced, it can become the main compositional quality.
Dynamics
dynamics static composition
Dynamics is the complete opposite of static in everything!
Using dynamic construction, you can more vividly convey a mood, an explosion of emotions, joy, emphasize the shape and color of objects!
Objects in dynamics are generally arranged diagonally; asymmetric arrangement is encouraged.
Everything is built on contrasts - the contrast of shapes and sizes, the contrast of colors and silhouettes, the contrast of tone and texture.
The colors are open, spectral.
The dynamism of the form is primarily associated with proportions. The equality of the three sides of an object characterizes its relative staticity. The difference in sides creates dynamics, "visual movement" in the direction of the prevailing value.
Let's compare a cube and an oblong parallelepiped. The shape to the left (elongated parallelepiped) creates movement of the eye along the long side. Put the parallelepiped flat on: the vertical will disappear, and with it the one-sided orientation. Now it is a static, "lying" volume. In order for dynamism to manifest itself, it is necessary to designate the beginning, giving the form direction. The skyscraper, directed upward, is dynamic, as we see the beginning of the form and its rapid upward movement.
A dynamic form can be characteristic of both fixed volumes (architectural structures, machine tools) and moving (various vehicles). However, the manifestations of this property are different. The dynamic shape of a racing car or supersonic aircraft expresses the essence of the object itself, it is determined by the conditions of aerodynamics. The form of technology of the 20th century is a product of the rhythm of our time.
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Monotype master class with a photo for children from 7 years old
Fundamentals of visual literacy: statics and dynamics in composition
Author: Natalya Aleksandrovna Ermakova, Teacher, Municipal budgetary educational institution of additional education for children "Children's Art School named after A. A. Bolshakov," the city of Velikiye Luki, Pskov region.Description: work can be done with children from 7 years old. The material can be useful for teachers of educational institutions, additional and preschool education.
Purpose: decoration of creative exhibitions and interiors of premises.
Target: creation of a decorative composition in a non-traditional monotype drawing technique.
Tasks:
- continue acquaintance of children with the basics of visual literacy: visual means (point, line, spot), rules for building a composition (compositional center, color balance);
-to acquaint with the concept of statics and dynamics in a composition;
-to improve the skills of working in the technique of monotype, gouache;
-exercise in work with different brushes in accordance with the task at hand, exercise in the ability to work with all the nap of the brush and its tip;
-to cultivate creative initiative, imagination.
Hello dear guests! Today we return to studying the basics of composition, what is it? Composition means composing, combining, combining various parts and objects into a single whole in accordance with any idea, concept. This is a thoughtful construction of an image, finding the ratio of its individual parts (components), which ultimately form a single whole - a complete and complete image in a linear, light and tonal structure.
In previous work, we found out that composition is a way of arranging objects on a piece of paper. That you need to position the drawing so that there is not a lot of empty space on the sheet. To do this, we studied the location of the sides of the sheet. We learned to place the image in the middle, so that everything that was conceived would fit on the piece of paper entirely, so that there was very little empty space left above, below and on the sides. We got acquainted with the new science - the foundations of graphic literacy, with the rule of balance in composition.
Balance in composition.
There are a lot of rules for building a composition, today we will get acquainted with new concepts - statics and dynamics. At first glance, difficult names mean a state of rest (static) and movement (dynamics) in painting.
There is no action in a static composition. Stable, motionless, often symmetrically balanced compositions are calm, silent. In addition to the static (state of rest) of the figure itself, the location of these figures in the composition is of great importance, so the lower to the edge of the sheet the entire composition is located, the more static it looks. The more symmetrical, the more static.
But any static shape can be turned into a dynamic one: a square can be placed in a corner, a parallelepiped can be placed vertically, a pyramid can be tilted, and so on. In addition, they can be positioned in such a way that it will seem to the viewer that the whole thing is about to fall. The dynamic ones include: a triangle and a parallelogram standing on the short side, an ellipse, a ball, a pyramid, a parallelepiped standing on its narrow edge, and so on. Consequently, a composition that seeks to change its elements is dynamic, that is, it is in motion.
So, dynamics (from the Greek dynamis- "force") is the alternation of any elements in a certain sequence. In dynamic compositions, the elements are arranged along diagonal axes or freely located on the plane of the picture. They emphasize more clearly the sense of movement, a more varied arrangement of objects, there is a bold violation of symmetry. You can observe the displacement of the contours in relation to the color spots. The color scheme in dynamic works can be pronounced and more emotional.
Today we will look at dynamics and statics in a composition using a color spot as an example. The creation of any composition is necessarily work with the form. Its ultimate goal is to achieve the artistic expressiveness of the form. In general, the course of such work is a complex and inextricable process of shaping, the creation of which is helped by various expressive means - a point, a line and a spot.
Point - despite its relatively small size, it has very broad capabilities in building a composition. Very often it is she who is the center of her entire structure, the point can focus the viewer's attention on itself. Even a single point on the sheet can already say something, for example, about imbalance, instability in the composition. Interacting with other points, she will tell much more, create a holistic plot. But it all depends on the properties revealed in the composition: location on the plane, relative size, silhouette, filling density, brightness. In this sense, it is closely linked with other graphic means of building a composition, their artistic properties.
The point is included in a number of other visual means, making up an equivalent part of the overall composition. Thus, the artistic properties of a point are directly related to the properties of a line, spot and color, forming a harmoniously organized graphic plane as a whole.
Even a single line itself, and not just a line as an element of the structure of a specific composition, can be given an emotional characteristic. So, the lines can be called: strong, uncertain, light, restless, impetuous.
The spot has a certain characteristic of tone (darker-lighter) and, in this regard, is clearly associated with the sensation of "mass". Of course, the spot has enormous expressive possibilities, and of course, they are enhanced in interaction with other graphic and color means of the composition. Unlike a point and a line, a spot, as a rule, fills most of the drawing, fills the drawing with content, gives an emotional background (sadness, joy), various states of nature, and much more.
Materials and tools:
-sheet A3
-glossy paper of a smaller size (any surface that does not absorb moisture quickly, a bag, thermal adhesive, Whatman paper will do)
-brushes
-jar and cloth
-scissors (they are needed to cut paper to create prints)
Master class progress:
Our today's work is based on the creation of various prints of color spots, in other words, this is an unconventional monotype painting technique. The word "monotype" is composed of two Greek words. "Monos" is one, "typos" is an imprint. We will try to find an image in a random print, create a dynamic or static composition.
We start by applying color spots of any color to a piece of glossy paper. The ink must be applied to the paper thickly so that you get good prints.
Now let's create a print, set the color spot in motion. It is necessary to turn over the leaf of paint and apply it to a clean sheet, then create a trajectory of movement. With one hand we hold a large sheet, and the other with a sliding piece of paint on a large sheet.
The paint on the leaf where it was applied initially shifted, turning into a single smoothly flowing spot. Let's stop at this image for now and dream up. The spot is very similar to a beautiful tropical fish, we just need to fill the entire area of the paper with content.
Add a background, and now the fish has stopped and looks with curiosity at the underwater blue reef, it is at rest.
Then we add air bubbles to the drawing and we get the impression of a smooth underwater current, the composition has become dynamic.
Now let's look at the print that we got on a large sheet. Let's turn the sheet in different directions and see what the color spot looks like.
Consider a vertical version - like a fawn, outline the contours of the ears, head, body with lines.
The composition can be complemented by the landscape in the background.
The second option for working out the print is an outlandish ostrich bird, it looks up into the sky, there birds fly high under the clouds.
Turn the print over again, it is very reminiscent of a swan bird, or someone from the order of goose and duck-like birds. Let's start working on the background, we will use blue gouache. First, let's draw the water surface. First of all, the silhouette of the bird's figure is outlined, and then the background is painted over in the horizontal direction.
On a wet background, draw wavy lines of blue and white in a chaotic manner and in a horizontal wave direction.
The impression of ripples on the water is created, which means that the breeze is blowing.
Now the sky, it should be lighter than the color of the water. Using white and blue gouache, first outline the outline of the bird.
Then we apply smooth horizontal strokes on the paper, and add brown to the background. Create smooth transitions from color to color.
Draw the beak with red gouache, add some white shades.
Then white lines enter the entrance, we decorate (decorate) the bird.
Imagine that the wind blew harder, the waves become larger and foam appears on them - we paint it with white gouache.
Draw the clouds with white color by attaching the brush to the sheet. Note that the waves and clouds both float in the same direction.
Then draw a strip of earth on the horizon (where the water meets the sky) in brown with a slight addition of green. And since the wind is blowing here, we will slightly bend the tree trunks, draw them with a thin brush.
Draw in yellow the crowns of the trees, brushing.
We draw one eye of the bird, since its head is turned sideways to us. Then add red leaves to the tree crowns and you're done.
This is what my tropical birds have done.
A flock of sea turtles.
Sea fish jumping out of the water.
Proud birds from the eagle squad.
Koschey and kikimora.
Marine predator.
Composition translated from Latin literally means composing, linking, joining parts.
Composition is the most important organizing moment of an artistic form, giving a work of unity and integrity, subordinating its elements to each other and to the whole. It unites particular aspects of the construction of an artistic form (real or illusory formation of space and volume, symmetry and asymmetry, scale, rhythm and proportions, nuance and contrast, perspective, grouping, color scheme, etc.).
Composition is the most important means of building a whole. By composition, we mean the purposeful construction of the whole, where the arrangement and interconnection of parts are determined by the meaning, content, purpose and harmony of the whole.
The finished work is also called a composition, for example, a work of painting - a picture, a piece of music, a ballet performance from numbers interconnected by a single idea, the composition of metal alloys, perfumes, etc.
Composition is absent in the chaotic jumble of objects. It is also absent where the content is uniform, unambiguous, elementary. And, on the contrary, composition is necessary for any integral structure, rather complex, be it a work of art, scientific work, information message or an organism created by nature.
The composition provides a logical and beautiful arrangement of the parts that make up the whole, giving clarity and harmony to the form and making the content intelligible.
Without comprehending compositional construction as a means of organizing the material, it is impossible either to make a judgment about works of art, much less to create them.
The task of the compositional construction of a work is to distribute the material of the future work in such a way and in such a sequence, in such an interconnection of the parts of the work, in order to best reveal the meaning and purpose of the work and create an expressive and harmonious art form.
There are two ways of artistic vision when organizing a composition:
Paying attention to a separate object as the dominant of the entire composition and the perception of the rest only in relation to it. In this case, the environment is seen by the so-called peripheral vision and is deformed, obeying the center of attention and working for it.
The vision as a whole, without highlighting a separate subject, while any details obey the whole, lose their independence. In such a composition there is neither the main nor the secondary - it is a single ensemble.
Construction.
Fundamental rules
There can be no composition if there is no order. Order defines the place of each thing and brings clarity, simplicity and power of impact.
Start by looking for a background color, which should be calm and emphasize the expressiveness of objects. Do not forget about light, correct and expressive lighting of objects.
Nothing should be superfluous from the items. Beware of variegation. It is advisable to have no more than four primary colors in a composition. Start the layout by drawing a rectangle that defines the format of the future drawing, for example, a wall with adjoining objects. Draw an initial sketch of the objects in pencil. Determine the scale of the objects to be depicted. Determine the final color ratio in the composition.
Static and dynamic - these are the means of harmonization used to express the degree of stability of the compositional form.
Such stability is assessed purely emotionally, according to the impression that the form makes on the viewer. This impression can come both from the physical state of the form - stable or dynamic, associated with the movement of the object as a whole or its parts, or from a purely compositional or formal one.
Static equilibrium occurs when figures are symmetrically arranged on a plane relative to the vertical and horizontal axes of the symmetrical composition format.
Dynamic equilibrium occurs when the figures are asymmetric on the plane, i.e. when they move to the right, left, up, down.
Symmetry and asymmetry in composition
Symmetry and asymmetry is the arrangement of elements of a composition relative to the main axis. If it is the same, then the composition appears as symmetric, if there is a slight deviation in one direction or another - as dissymmetric. With such a significant deviation, it becomes asymmetric.
There are three main types of symmetrical composition: mirror, axial and helical.
Mirror symmetry is formed with the same arrangement of elements relative to the main axis passing through the center of a horizontal or vertical compositional plane, graphic or plastic. An example is a square with a cross in the middle.
Axial symmetry is typical for a volumetric form, which has a central, usually vertical axis of symmetry and a uniform arrangement of elements around this axis. The characteristic symmetrical axial shape is a cylinder.
Helical symmetry is characteristic of a three-dimensional shape, which has the same central axis and uneven development of elements in the longitudinal direction, their contraction and displacement relative to this axis. A typical example is a shell-like shape.
The composition can include symmetry and asymmetry at the same time. Then it is built on the basis of the subordination of secondary, asymmetric parts and the main symmetrical form. With this subordination, the visual balance of the entire composition is established. It can be achieved in a position in which the main element is asymmetrical with respect to the overall shape, and its parts are symmetrical, and vice versa.
Meter and rhythm in the composition
Meter is the simplest order based on repetition of equal elements. The repetition makes it easier to perceive the form, makes it clear and distinct. However, at a great length, the metric composition may appear monotonous. The elimination of monotony is facilitated by: 1. a combination in the composition of several metric rows of different construction; 2. selection of groups of elements in the metric row; establishing discharges between groups; 3. "revitalization" of the metric series due to the inclusion of accents in it; 4. changing individual properties of repeating elements.
Rhythm - more complex than meter, the order of alternation of elements of the composition. It is based on an uneven change in their properties. This change can affect both the elements themselves and the spacing between them. With their constant change, a continuous set is formed, which can be of a different nature - sharply or smoothly changing.
Abrupt change is typical of simple "hard" geometric shapes. These are squares, triangles, rhombuses, etc. Smooth change is characteristic of more complex and "soft" shapes - parabolas, ovals, spirals, etc.
The circle is not included in the series of the latter: it is formed on the basis of the formation of a metric, that is, a uniformly changing set.
The most characteristic method of building a rhythm is changing the size of the elements. The increasing and decreasing rhythmic series are built on such a change. A smooth increase leads to the construction of a “calm” rhythmic composition, a sharp one - “tense”. Behind the excessively sharp change in the size of the elements lies the destruction of the compositional-rhythmic structure.
Another common technique is changing the spacing between elements. Its use is associated with the construction of narrowing and expanding rhythmic series. The first rows are formed by reducing the distance between the elements, the second - by increasing them. The degree of change in this case will determine the deceleration or acceleration of the rhythm. A gradual increase in the size of the intervals leads to a visual weighting of the form in the direction of this increase, and vice versa, a decrease - to its relief.
Like a meter, a rhythm can be composed of one or several rows, that is, it can be simple or complex, multi-row. Complex rhythmic series can be formed by combining different metric, metric and rhythmic or some rhythmic series. The rhythmic orientation of the combined rows relative to each other can be different:
1.parallel orientation - when the properties of the elements in the rows change in the same way, for example, the brightness increases, the magnitude increases, etc.,
2. counter - when the properties change unevenly, for example, the brightness increases, and the value decreases.
The nature of the composition largely depends on this orientation. He becomes either emphatically impetuous, or more calm, built at the intersection of rhythmic rows "moving" in different directions. In a random, "Brownian" arrangement of elements, the composition is destroyed.
Each of us, looking at a photograph, wants to find in it something special, unique, something that will make you hold your gaze on this picture. A person tries to find diversity and originality in everything.
If you spend one or two hours browsing a photo site like Flickr or something like that, you will find many very similar images of landscapes. They will portray different areas, but they are all united by monotony and boredom. However, if you look at the top-end shots, you will notice that they have something unique, they capture life. In other words, the pictures that people undoubtedly love have what you might call the dynamism of landscape photography.
What is dynamics in landscape imaging?
Summer storm (Queenstown, New Zealand). Here's an example of a dynamic landscape image. To maximize the number of elements in this dynamic image, the photographer set up the camera, set a good shutter speed and took a series of photos. All the waves that hit the shore during this time seemed to mix with each other and form the final image.
Even on Wikipedia, there is an article on Dynamics in the depiction of a landscape, but again, this is just a personal interpretation and description of the author's personal thoughts.
In my opinion, dynamics in a landscape is the ability to transfer the energy of nature, the transfer of its power and strength... Often, dynamic photographs go beyond the usual 2-D image, they are deep, stronger, looking at them, gives the impression of a 3-D picture.
The term "dynamic image of landscapes" was first coined by the famous American landscape photographer Galen Rowell. Rovell used this term to describe his work as early as the early 70s. Of course, he was not the only landscape painter of that time, and not the only landscape painter whose works were distinguished by dynamism, but it was Galen Rovell who owned this term and he became his trademark, and Rovell began to be identified with the expression “dynamic landscape”.
Dynamic composition
Composition is the basis of all great photographs - dynamic or not, it doesn't matter. Pictures with a good composition attract attention, make you stop near this photo, at least for a few seconds.
Sunrise over the Moeraki Boulders, (Otago, New Zealand). Seascapes lend themselves easily to creating a dynamic landscape.
This image perfectly combines all the necessary elements to make a photo dynamic:
- Ascending and descending lines;
- Interesting perspective;
- Visually interesting foreground subjects;
- Visually interesting skyline and landscape background;
- Vivid color and light in the photo;
- Harmonious colors and vignetting;
- Motion image.
It is important to note that the photographer rarely succeeds in bringing all these qualities together in one photograph. In fact, separately they are found all the time, in landscape photography there is always one of these elements, but that all at once is a great luck.
The information provided in this article should not be taken as a clear guide to making good photographs. Photography is an art, in order to create beautiful pictures you need talent, creativity and, of course, experience and practice. The recommendations given to you for consideration can only be used as a guideline for the development of your own technique and skill.
Let's take a quick look at each of the Dynamic Landscapes thesis.
Ascending and descending lines
One of the simplest ways to draw the viewer's attention to a shot is to use lines in your shot. Converging lines have been used by artists for centuries to create the illusion of depth in a painting, within a two-dimensional space.
This is why photographs depicting marinas, roads and rivers are so popular and are a great subject for photographs. Many people consider these objects in the frame to be quite formulaic, but it is important to be able to use such things correctly when photographing a landscape.
Ascending lines not only draw attention to the photograph, but also help to keep the eye on the photograph.
Queenstown, New Zealand. The jetty photograph combines both ascending and descending lines. The lines of the jetty are directed towards the sky, while the lines of the clouds are directed downward, as a result, all the lines in the photo visually converge on the horizon. By drawing our attention there. Capturing hand-made lines will teach you how to look for finer lines in nature.
Despite the fact that the pier is the central object in the picture, which is at the same time the source of the main lines in the frame, there are also a number of others, created with the help of water, hills and clouds. The dark lines in the reflection of the water help keep the eye in the center of the photo.
Are you a photographer. You are paid to show people something more than they can see for themselves, which means you have to show the world in an unusual light.
It is highly recommended that you take photos outside your own comfort zone. As practice shows, photographs taken while lying on the ground, snow or mud have a more dynamic composition.
This is especially noticeable when shooting with an ultra-wide-angle lens. Even the smallest guide lines become noticeable when shooting the same landscape, but from a standing position, these same lines become invisible.
Try to photograph from a height. Pictures taken at height also look very attractive.... Try climbing a tree or stand on someone's shoulders and look for an interesting perspective. Photos taken with a telephoto lens, and even at altitude, are especially good.
Paddock Bay Lake Wanaka New Zealand. The photographer had to step out of his own comfort zone to take this picture. But in return, he received a magnificent image of the rocks and their reflection. Also, pay attention to the strong lines present in this shot.
Foreground elements
All dynamic photographs feature strong foreground elements that complement the overall experience.
Let's take an image of a sunset (or sunrise) as an example. Beautiful sunbeams, golden and red clouds, all very beautiful, and looks great in the photo. But the viewer is unlikely to be attracted by the image of only illuminated clouds, here you want something more.
The best dynamic photos tend to have interesting foregrounds. It is the photographer's job to make the shot more complete. You need to find something that would complement your photo in the foreground, and if this object also adds dynamics to the image, then this is a guarantee of a successful, dynamic shot.
Visually interesting background elements
Foreground and background elements, in photography, can be defined as foreground and background actors in cinema. Of course, everyone is following the main character, but without a well-chosen supporting cast, the film will not turn out to be as interesting and enjoyable to watch as it could be.
Milford Sound, Fiordland New Zealand. In this case, the heroine of the photograph is a dramatic play of light in the clouds above the mesmerizing peak of Miter - in the foreground, elements that support the integrity of the photograph are depicted.
Color and light
The color gamut of the image and the right lighting play an important role in creating a harmonious, beautiful frame. Any color will look especially beautiful in natural light.... Too bright colors should be either balanced or completely excluded from the overall composition. Very often people focus on too variegated color, or bright light, then this is the wrong decision.
When the landscape is dynamic, there must be a color balance so it is best to try to avoid a lot of shades.
Sunrise from Mount Taranaki / Egmont, New Zealand. In this image, the main goal was to show the scattered light rays and saturated color in the clouds. Color is just one component of the look. The dark mysterious hills here are in excellent contrast to the bright clouds.
The color is too strong. An incredibly bright sunrise, so vivid that the colors in the photo look unrealistic, when in fact the only processing for this photo was a decrease in the saturation of the red color.
Vision lock
It sounds like the name of a super-secret US program, but in reality, we are talking about ordinary vignetting.
When vignetting in a photograph, the central element of the frame immediately catches the eye. Dark edges in the photo help to concentrate on the center image. Look through many pictures and you will notice this effect in many pictures. Vignetting occurs due to the nature of the camera, or using a special filter. Most often, a slight darkening at the edges of the photo is added during graphic processing of the image.
A cloud moving nowhere, across the endless heavenly expanses. Photo taken in New Zealand. It perfectly combines a bright, light center and subtle vignetting around the edge of the image.
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Motion captured by blur or slow shutter speed is optional, but always a very nice element in dynamic landscape photography.
A light haze, or fog, is a stream of water captured in aperture priority mode at slow shutter speeds. The water looks a little frozen, frozen in time.
