Tips for increasing the sense of space in the picture, how to create a good sense of space in the pi

How can mobile photography enhance the sense of space in the picture, be layered, and highlight the subject?

This should be 3 problems, and we will try to solve them in three parts, hoping to give you a reference.

1. Use photographic composition.

Increase the "sense of space" in the picture:

If you want to increase the sense of space, you can use some special compositions to create an infinite visual magnification.

1 Perspective Composition:

Using the extension lines in the frame, you can create a sense of space that extends infinitely.

2 The "white space" of the picture creates a sense of space

The "blank" composition in photography is actually an extension of our "associative space".

Blank space is not a simple blank space, but a variety of contrasts (colors, chiaroscuro, etc.) to create a strong contrast between the subject and the minimalist background.

2. Use "multiple contrasts" to create a sense of hierarchy

There are three commonly used "contrasts" in photography – color contrast, chiaroscuro contrast, and virtual and real contrast.

If we make good use of these contrasts, we can capture the layering of the picture.

1 Color Contrast:

It usually refers to "warm and cold colors."

contrast" (red, orange, yellow, and blue, green). Mastering the contrast between warm and cold colors will make the same picture layered.

For example, the following four photos** are shot with contrast and without contrast.

Fig. 1 and Fig. 4: The subject and background are the same color, and there is no contrast, so there is no sense of hierarchy.

Fig. 2 and Fig. 3: There is a strong contrast between the subject and the background, and there is naturally a layer.

Knowing the contrast between warm and cold, we can pay attention to the observation and capture this kind of contrasting scene when we shoot in our daily life.

2 Chiaroscuro:

Chiaroscuro is usually with the help of light and shooting angles to create a chiaroscuro contrast in the picture and show a sense of hierarchy.

If you want to shoot a chiaroscuro picture, you can usually use backlighting or side backlighting.

For example, backlit to create a contrast between light and dark.

Side-lit and side-backlit shooting chiaroscuro:

3. Use the "virtual and real contrast" to highlight the main body:

There are many ways to highlight the subject, including the color and chiaroscuro mentioned above. The contrast between virtual and real is one of the more intuitive and effective methods.

For example: a mobile phone to take a picture of two small snails.

The device focuses on a small snail in the near distance, and the snail in the distance and the background are noticeably blurred, finally highlighting the subject.

Partners who often use mobile phones to take photos should have the experience that it is not easy to use mobile phones to capture blurred backgrounds.

Here's a little trick – keep the lens as close to the subject as possible while keeping the focus sharp, and the background will naturally blur.

For example, the picture below also captures small flowers, 1 Left: Shot from a distance, the background is not blurred, and the subject is not prominent.

2 Right: Close-up shot, focusing on a flower, blurred background, highlighting the subject.

In addition, I want to highlight the subject of the picture. In addition to the contrast between virtual and real, you can also use some "coercive" techniques.

For example: the post-production "color drawing" effect.

A large maple leaf is photographed, and only one leaf is left in the post-production, and the subject of the picture is immediately highlighted.

Wen Yue Xiaoyue.

In the creative post-stage, pay attention immediately

1. Use lines to express perspective relationships.

The principle of line perspective is that people observe the scenery with the visual effect of "near big and far small". First of all, the most obvious example is when we look at two parallel lines, the lines converge in the distance and eventually disappear on the horizon. Secondly, the position of our ** scenery is different, the relative position between the scenery is different, and the perspective ratio of its line perspective is also different.

Linear perspective exists in all the scenes we see, the bright lines are easy to feel, and the dark lines are often overlooked. For example, when we learn to sketch and draw portraits, we often do not handle the relationship between the lines and perspective of the portraits, because the lines and perspectives here are dark and not easy to express. In landscape photography, it is not easy to express the line perspective between the scenes, and we need to fully observe and understand the relationship between the light and dark lines in order to put it into practice.

2. Arrange the scenery reasonably and deal with the near, medium and long prospects.

We'll find that this sense of perspective increases as you get closer to the subject, and conversely if you want to weaken it, stay a little further away from the subject. A landscape photograph that is successful in expressing perspective should be in harmony with close-up, mid-range, and long-range shots. Some movie friends' shooting**, especially the long-range scenes**, always feel "flat" and the sense of space is not strong, this is because there is no foil and contrast between close-up and medium-range shots, only long shots.

3. Make good use of the relationship between focal length and visual perspective.

Changing the focal length of the lens is a relatively easy way to master, and this visual experience is very intuitive. A wide-angle lens is capable of "exaggerating the perspective relationship", which makes the distance between objects larger than our eyes seem, so that the space is extended, and the visual proportional relationship of the object is also exaggerated, while the telephoto lens is the opposite, it compresses the space and weakens the proportional contrast between the front and rear objects. One thing to understand here is that if there is no foreground or middle ground in the picture as a reference, changing the focal length without changing the shooting position is generally not able to change the perspective relationship.

Make reasonable use of perspective to create a good sense of space in the picture**6

Contrast, mainly: black and white contrast, light and dark contrast, virtual and real contrast, color contrast, composition is also very important

If you want to make the picture have a sense of space, the key lies in two words - --"Contrast".

The contrast can be divided into the following aspects, I believe if you notice both, the sense of space naturally arises:

1.Color contrast: The purity of the distant color is more pure than the nearby gray (referring to the same color).

2.Contrast in clarity: Generally speaking, the closer things are to you, the clearer they become, and of course, sometimes when we focus on the distance, the closer it is blurred.

3.Contrast in texture: the farther away the object, the weaker the texture.

In any picture, it is necessary to pay attention to distinguishing between near and far, and do not draw the near and far as the distance is as clear, then it is easy to stick together and lose the sense of space.

Clever use of trees and rocks to enhance the sense of depth of the picture.

Here are some ways you can use to enhance the spatial sense of the picture:

1. According to the principle of cold and warm colors, cold colors have a sense of retreat and warm colors have a sense of progress.

2. Relatively speaking, the bright color has a sense of progress and visual impact than the gray yardage bottom purity!

3. Draw the background of the picture more virtually, and the tablecloth can be handled relatively solid, and then use the pen to use some depth of the direction line to express the first line of the cloth cavity, which can produce the effect of the visual space of the depth of the picture.

4. The contrast between light and dark of color can be used to strengthen the sense of space of the picture and the relationship between the virtual and the secondary.