Landscape photography. Landscape photography. The main thing in the frame

Good day. Today I'm going to talk a little about my approach to landscape photography.

The landscape for me is probably the most favorite and pleasant type of shooting, because, while photographing, I at the same time relax my soul, enjoying the beauty that nature has created. Photographing nature is an incredible pleasure - climbing into its quiet corners, you get such a boost of energy and vigor, which then lasts for a long time. The wind in the face, the sun on the lips, the legs shaking from fatigue in the evening and the heart filled with love for everything around - what could be better?

For beginners, as a rule, it seems that there is nothing easier than shooting a landscape. I remember one of the novice amateur photographers on the Photomonster forum wrote that there is nothing difficult in shooting landscapes, the only difficulty is to get to the place of shooting. At first glance, yes: here is a pond, here is a forest, here is a road, here is the sky with clouds floating on it - just take the camera and shoot. But, basically, after the first such shooting, it becomes clear that it is not so easy to find an interesting plot, it is difficult to see the unusual in the ordinary, even to compose the frame correctly, to make the right accent is not always possible for a beginner. After all, it is very important for a landscape painter not only to capture the beauty of some picturesque corner, but to be able to show the mood of nature itself, its state, the harmony of color and light - all together this is the key to the success of landscape photography.

Landscape photography equipment

So, I'll start with what is necessary for shooting landscapes in terms of equipment and what I mainly use. In principle, you can shoot on any device, but, of course, full-length cameras in this regard provide more creative opportunities when shooting. I usually shoot nature Nikon D800 E. Landscape painters use different lenses, up to long-focus ones - the main thing here is to know the goals and objectives that are set. But still, landscapes are more often shot with wide-angle optics - it is this lens that allows you to capture the breadth and expanse of the nature being photographed, and it is this lens that gives the sharpness that is so necessary for such shooting throughout the frame.

Initially, I shot landscapes with a lens Nikon AF-S 24-70mm f/2.8G ED. A wonderful lens, I can’t say anything bad about it - many of my shots were taken with it. For example, here are these:

Gradually, I began to miss the angle of this zoom lens, and was purchased Nikon AF-S 14-24mm f/2.8G ED. Now I mainly use it when shooting landscapes - a super-sharp wide-angle lens is exactly what a landscape painter needs. Here are some examples shot with this lens:

Now let's talk a little about tripods. A tripod is an essential piece of equipment for a landscape painter, it gives you much more exposure control and is especially important when shooting low-light scenes such as sunrise and sunset. I have two tripods in my arsenal and, as a rule, I take both of them on trips (of course, if these trips are by car). One tripod is heavy and reliable - Manfrotto 055XPRO3. I use my head with it Manfrotto 410 Junior- very convenient compact 3-axis tripod head, which has a mechanism for precise positioning in three directions; pan, front and side tilt. I usually use this tripod if shooting takes place close to the car, for long distances it becomes too heavy a burden. Therefore, I have another tripod for hiking, it is lighter, but quite reliable and has never let me down. This is about Fotopro X5IW+52Q. What else I like about this tripod is that it easily turns into a monopod and becomes my indispensable assistant when shooting sports.

It is highly desirable to have a cable release or remote remote control to avoid camera movement when the shutter button is pressed and to prevent blur (especially at slow shutter speeds).

About filters. What, in my opinion, is necessary to have when leaving for a landscape shoot. First of all, of course, it is a protective filter - without it, nowhere. It will protect the lens from dust, moisture, and possibly save the lens if it falls (though this has never happened to me - I take my equipment very carefully, but no one is safe from this). Since I often shoot in the mountains, I use multi-coated UV filters as a protective filter, which not only protect lenses from mechanical and other influences, but also help to retain “soft ultraviolet”, and in the mountains they help fight bluish haze and a decrease in contrast.

The second filter that I put in my backpack is a polarizing one. It helps well to fight glare on the water, saturates the photo with a range of colors. I used to use it very actively to darken the sky, but recently I use it much less often - I increasingly resort to shooting with exposure bracketing and, if necessary, take the sky from a darker frame.

For a wide-angle lens 14-24 I use all the same filters, but through this mounting system:

I used to love experimenting with Cokin filters (when I shot only with a 24-70 lens). Here is an example using the orange gradient filter:

I gradually moved away from using Cokin filters - I stopped liking the result, the filters, together with the entire attachment system, take up a lot of space in the backpack, and “winding up” the right colors is not a problem during post-processing.

A landscape painter, of course, also needs ND filters with different stops (ideally, you probably need to have one variable density ND filter - it will allow you to replace a whole set of ND filters of various densities and will not take up much space). An ND filter will help limit the amount of light when you need to use the widest aperture to reduce the depth of field. Most often, such filters are used to lengthen shutter speeds when shooting water - to obtain the effect of "milk rivers".

Now about the shooting itself. More often than not, landscape photographers shoot with the camera held horizontally, because it is in this position that we can create shots with wide and far-reaching landscapes. However, a horizontal landscape shot is not always prerequisite getting an interesting shot. If the scene you see requires vertical shooting, then all the accepted rules are thrown back. For example, if your subject is a lone tree, rock, or other tall object, you might want to consider vertical framing. I don't often take vertical shots, but sometimes it happens, like in these shots:

Landscape composition is the foundation of photography, and this is usually where the difficulty comes in. When shooting landscapes and creating composition, I took a few simple rules for myself.

1. The frame must be harmoniously filled, i.e. it should not be overloaded with unnecessary details. Even when framing at the shooting location, you should try to cut off all unnecessary elements. The edges of the picture should not outweigh each other - the composition should be balanced.
2. No matter how wonderful the composition is, but the light when shooting is one of the most important conditions for obtaining beautiful shots. In cloudy weather, you can rarely get interesting pictures, so you often just have to wait for good lighting. To get beautiful landscape photos, it is necessary that the main objects in the picture are highlighted by lighting - highlighted. And, of course, the best time to shoot landscapes is in the morning and evening, when the sun is not in a high position - it is at this time that it casts side shadows that create the impression of volume and depth.
3. You need to compose the frame, usually using the “rule of thirds”. Most amateur photographers, of course, know it: we shoot in proportions of 1/3 earth and 2/3 sky, or, conversely, 2/3 earth and 1/3 sky.
4. In order for the landscape to “play”, an interesting foreground is needed - a “stroke”, an accent is needed. Such an accent can be a stone, tree, flower, any snag, etc. It is the presence of the foreground that allows you to more realistically convey space in the landscape being shot and get the so-called “presence effect”.
5. We apply the rule of the "golden section" for accented objects - we place them exactly at the intersection points. Blindly, mindlessly obeying this rule, as well as all others, is not worth it - you should always approach the shooting of each landscape individually, thoughtfully.
6. A landscape shot should be multifaceted in composition, i.e. it must have a foreground, middle ground, and background. In this case, the focus must be necessarily in the foreground.
7. Use the play of light and shadows - this is what often gives the photo a "zest", originality.

Of course, all the rules that I adhere to are not a dogma or an indisputable truth, but you need to know them and in most cases they help when shooting landscapes. But the main assistant for the landscape painter, of course, will be his own perception of the picture he sees, his inner sense of building a composition. The composition must be learned to "see" - if a person has at least a little artistic taste, this can be gradually learned.

Most landscape photographers like to shoot nature during golden hours. at dawn and dusk. Photos taken during these periods of time take on an absolutely magical look - the sun is close to the horizon, so the lighting is soft, diffused, everything around is filled with amazing color shades from golden yellow to crimson red. True, it is not always possible to “catch” the beautiful colors of sunrise and sunset, therefore, if possible, it is worth coming to the place chosen for shooting more than once. For example, not the first time I managed to capture the beauty of the dawn over Birdew - I left three times at 3.00 am (the road is not close), but in the end I was lucky to see and shoot a beautiful sunrise:

Interesting sunrise shots can be obtained by shooting near water bodies. In the dawn hours, as a rule, there is no wind, the water surface is completely calm, and the unusually soft colors of dawn can create magic and make even the most nondescript pond or lake mysterious. Here is such a golden dawn was filmed on one of the lakes of the Altai Mountains:

Sunsets are no less interesting to shoot than sunrises. The main advantage of shooting is that you don’t have to get up in the middle of the night and rush headlong, but you can safely get to the right place during the day and slowly prepare for the sunset. The sunset glow sometimes simply amazes with its variety and splendor of colors. Twilight creates absolutely magical pictures, enveloping the sky with unusually beautiful lighting in color and tone, therefore they are able to give landscapes emotionality and expressiveness. By the way, the most interesting and beautiful sunsets happen during weather changes, for example, a blood-red or purple sunset necessarily precedes the windy weather the next day. I managed to shoot such a sunset on Lake Teletskoye, this sunset shooting was not planned, accidental (the wayward spirit of Lake Teletskoye made us wait a long time for the moment when it was possible to go on a small boat on the way back to our parking lot), but for me it’s just " played into the hands":

Sunset colors are so diverse and uniquely beautiful that they can work wonders, turning absolutely nondescript daytime landscapes into interesting paintings. How here, for example, a completely unremarkable place near the river in the evening became interesting precisely because of the sunset light:

What is the best time of year to shoot landscapes? Yes, all year round. Of course, in warm weather it is much easier and more pleasant to do this (especially in Siberia, where I live), and good lighting in summer happens much more often than in winter, and the colors are more saturated and diverse, but in the cold season you can also get beautiful landscape shots - you just have to wait for the weather to be favorable for shooting. And someone will ask what favorable weather means in winter, and I will answer - when the temperature on the thermometer drops and the lower the better. In this regard, I'm probably crazy, but when weather forecasters warn of a severe cold snap, and most people, wrapped in warm blankets, drink at home hot tea with lemon, I collect my equipment and race thousands of kilometers in order to have time to shoot extraordinarily beautiful winter scenes on these frosty days. Here, for example, this landscape (on the street minus 30 °):

I will dwell a little on the technical aspects of landscape photography. I always shoot nature in manual mode (M). For the most part, landscape shots require a large depth of field, so to achieve greater depth of field, the aperture should be covered. I usually use f / 8-f / 11 in fairly good lighting, I clamp it harder when shooting sunrises, sunsets, when I shoot the sun in backlight so that “rays” appear. If the task is to blur the background and at the same time highlight the object being shot, then the aperture must, of course, be slightly opened. Exposure will depend on many factors and tasks set during the shooting. If the shooting takes place in quiet, calm weather, the shutter speed is not so important - we set the desired aperture and, guided by the exposure meter indicator on the camera, set the desired shutter speed. If it’s windy outside, then it’s better to shoot at shorter shutter speeds in order to “freeze” the picture, so to speak, without giving the breeze the opportunity to “smear” leaves, grass, etc. in the picture. Light sensitivity (ISO) is usually set low to avoid digital noise. Many people recommend using a value of 100 when shooting landscapes. But lately I have been increasingly using slightly higher values ​​(200-400), which, in my opinion, gives a better study of the background of the photo. But I still prefer to shoot sunsets and sunrises at ISO 100. Another thing that is definitely important is to turn on the indicator of overexposed areas, the so-called “flare” mode, and, of course, shooting in RAW (I don’t even think about this worth talking about).

In conclusion, I want to say that shooting nature is like getting into another world - a world of amazing, unique beauty, filled with extraordinary colors that the world around us is so rich in. The main thing is to be able to "see" this beauty. If a beautiful view of nature delights you, while your soul sings, and your heart is filled with love and bursts out of your chest, then this is the first step to success in obtaining beautiful pictures. I wish you all interesting stories and successful shots!

Landscape photography is an incredibly fascinating type of photography that requires the photographer to know the basics of not only photography, but also painting. Landscape photography has always been and remains a popular and interesting genre. Photos of architecture and nature are in great demand in the photography market.

Landscape photography with filters

Horizon level in landscape photography

When shooting landscapes, it's important to keep the horizon level in mind, and to keep the horizon line level and clear. This is especially important when photographing seascapes. There is a grid in the camera's viewfinder and display during Live View shooting to help you create the right horizon.

Clear photos in the landscape

Author: Xin Hua

Depth of field is an important factor when shooting landscapes. In landscape photography, photos are welcome where most of the frame is clear and sharp. To increase the depth of field, you need to photograph with a narrow aperture.

telephoto lens

To achieve the widest angle of view, you should use the appropriate lens, or focal length, but a telephoto lens will also be useful when shooting landscapes. The telephoto lens allows you to compress the elements of the scene, bringing the foreground and background closer to each other. Thus, the mountain range and the foreground background will appear closer to each other, the picture will be more saturated. Telephoto lenses also help to focus on a particular subject.

Landscape shooting HDR

Exposure in landscape photography

Long exposure in landscape photography will make beautiful pictures moving elements. Waterfalls, waves and trees in the wind, and much more will look more alive and interesting when shooting with a shutter speed of a few seconds. It is known that the use of long exposures during the day can lead to exposure of the frame. It is required to set the aperture to f16, or even narrower. For best results, you may need to use a neutral density filter. Powerful filters such as the Lee Filters Big Stopper will allow you to use extremely slow shutter speeds even on the clearest day.

Tilt-shift in landscape photography

Photo by: Arnar Birgisson

Tilt-shift allows you to combine photos with large and shallow depth of field. The effect is achieved by using lens shift and tilt. Due to Tilt-shift, the elements of the frame will resemble miniature models. This effect will look beautiful in landscape photography. If you do not have such a lens, the Tilt-shift effect can also be achieved with graphic editor in addition, this effect is provided in some cameras.

Black and white landscapes

If you have never photographed black and white landscapes before, but really want to try your hand at such shooting, then it is better to start by photographing in color. Once you've taken a good shot, convert it to black and white using Lightroom or Photoshop. This gives you full control over how you edit your shot, and you can fine-tune your photo to create a truly beautiful black and white photo.

Panorama

To create a panoramic photo, do not shoot in the wide-angle position of the lens, this will distort the frame. Take pictures at a distance of 30-50mm. Yes, you will have to take more shots than with wide-angle coverage, but the panorama will turn out beautiful and natural. Many camera tripods have a tripod head for panning, but this is not always necessary in practice, especially if you plan on using software. The latest version of Photomerge for Photoshop will be especially effective in the process of creating a panorama. Panorama experts recommend using manual settings - manual exposure, focus and white balance - to ensure maximum photo quality and the same type of all created photos.

infrared photography

There are several ways to create infrared photos in Photoshop, but nothing beats creating them yourself. Infrared landscapes in black or white, allow you to look at the world around you in a different way. To create such pictures, you need a special filter.

Arts. Photographing beautiful landscapes is prestigious and profitable, since the best representatives of this genre have a lot of money for. How to shoot a landscape and get beautiful photos will be discussed in this article. To get good results, you need to follow a few simple rules in photography, know the basics of composition and use the right lenses. All this will be discussed in this article.

Main Features of Landscape Shooting

An important feature of landscape photography is the clarity of the image throughout the frame. The beauty of landscape photography lies in capturing nature in its entirety. Therefore, it is important to shoot landscapes with the narrowest aperture possible.

Light quality is one of the ingredients of good, beautiful landscape photography. There is the so-called golden age of photography, when the lighting is most conducive to creating attractive shots. This is the time after dawn and at sunset. In the cold season, the sun is initially softer, so you can navigate according to the circumstances and take pictures when it is convenient. Despite the fact that the golden time is considered to be the time immediately after dawn, you need to arrive at the shooting location at least an hour before the start of photography. In the time that you have left, you will be able to find the most successful places to work.

For landscape photography, it is traditionally customary to use a wide-angle lens, only with its help you can achieve the widest possible coverage of reality. Wide coverage can be achieved with a regular kit lens (), but to get high-quality photos, you will need specialized optics that allow you to take high-quality shots. Aberrations appearing as color halos are more likely to occur when shooting with zoom lenses, so when shooting landscapes, it is better to use a wide-angle prime.

How to shoot a landscape? – Camera settings

As already mentioned, in order to create a high-quality landscape frame, it is necessary to convey all the clarity of the displayed image; for this, it is necessary to shoot with a narrow aperture. Under narrow, an aperture of f / 12 and narrower is assumed. Light conditions are not always conducive to photographing with a narrow aperture and fast shutter speed, so landscape photography often requires the use of a tripod or monopod for image clarity.

Most likely, you will have to work in manual or semi-automatic aperture priority mode. The cameras also have a special automatic landscape shooting mode, in which case the camera will set all the necessary parameters by itself.

As for shutter speed, in aperture priority mode the camera will set it automatically, and in manual mode, the correct setting falls on the shoulders of the photographer. In bright light, at f / 16, the shutter speed will be 1/100 sec., but since the lighting is not always ideal, the shutter speed can be significantly slower. For quality work, most likely, you will have to use a tripod, otherwise there is a risk of blurring the frame.

The sensitivity value should be minimal, otherwise the noise and graininess of the image will ruin the detail in the colors of the frame. To shoot a beautiful landscape, it is better to sacrifice the shutter speed, making it minimal. Try not to increase the ISO in any case.

Composition in landscape photography

The rule of thirds in composition was first applied in painting, but today it is very popular in photographic art. Accurately arranging the main components of the frame according to this rule will achieve outstanding results and beautiful shots, the kind that your viewer will want to look at again and again.

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, in order to create a worthwhile shot that 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, 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 extremely conventional designations of the scene. 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 frescoes by 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 are becoming widespread, which suggest the ability of the viewer to enjoy art without religious, historical or heroic reminiscences. 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 craftsmen specialized in the manufacture of a certain type of object, so artists specialized in different types of 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 historians 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 Dupré, 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 portray 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 "Employed" (Fig. 6), where the landscape has the meaning of an accompaniment to the image of the negative aspects of Russian life.

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

Characteristic of the Russian national landscape is the 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 Rus' fit into it. The spring mood is expressed with subtle penetration. 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, in a hurry to capture a brief state of nature, throws the gold of autumn trees with energetic strokes, not caring about the detailed drawing of 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 went through a long creative 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, already 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 particular 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. Landscapes that open from high altitudes (from a balloon, airplane, spacecraft, interplanetary stations) became available for shooting, incl. landscapes of the moon and planets of the 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 guide to teaching photography", : " main feature 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 the space is filled with gentle diffused light, is the best time to admire 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 surprisingly 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 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, ensuring the natural reproduction of its surface, is possible with the right choice of 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. The photography was carried out on outdoors in evening time. The photo was taken on Canon camera 450D. 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. For creating correct composition image, 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. Regardless of which 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 to a more accurate transmission of the state of its surface 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 some 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 amazingly 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. Main character here the sky is 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 backlighting. 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 of landscape photography." M.: "Mir", 1989 - 200 p.

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

Landscape- This is one of the most popular and widespread genres in photography. Sooner or later, all the masters of their craft pass through the passion for landscape photography. And there are reasons for this: when shooting a landscape or a panorama, you can get gorgeous results even without the use of expensive equipment and a specially equipped workshop or studio with special lighting. All that is required to create a masterpiece is a camera and, preferably, a tripod, as well as certain professional skills and a fair amount of patience. It should be noted that very often final result depends not only and not so much on the camera, but on the skill of the photographer. Of course, any photography is, first of all, a creative process, but there are a number of rules, the observance of which will allow you to avoid common mistakes made by novice photographers.

Lighting

The object of attention of the landscape photographer, first of all, is nature. Of course, the landscape can be urban, and rural, and sea; it can be panorama or macro photography; buildings, animals and even people can be present in the pictures, however, the main difference here is the absence of artificial studio lighting. Landscape photography is done in natural conditions. This means that the issue of illumination should be approached very seriously, since the final result often depends on the light, or rather on the play of light and shadows. The most favorable for shooting landscapes are morning and evening, when the sun is low in relation to the horizon. It is at this time that the most contrasting images are obtained with a rich and varied play of light and shadows. As a rule, at noon, such results cannot be achieved due to the blinding sun and the almost complete absence of shadows - the pictures come out bright, but lifeless and “ flat". Not the most successful time of day is also late evening, after sunset. To shoot at dusk, you need a powerful device with a good lens and a noise reduction system, as well as, preferably, an external flash. Otherwise, the pictures will be blurry, grainy, with a lot of digital noise. It is equally important to choose a suitable position in relation to the light source, in particular the sun. It is not recommended to shoot against the sun, as you risk getting completely overexposed photos. Ideally, the light source should be behind the photographer.

Shot composition

An equally important condition for obtaining a truly successful landscape is the composition, that is, what gets into the frame and how the objects in the frame are located in relation to each other. It is not enough just to choose a picturesque area - often beautiful landscapes in the pictures seem banal, and, on the contrary, in the most ordinary environment you can create a real masterpiece. To do this, you need to understand what exactly is the main subject of the picture, why you are shooting it, and due to which the photo can become more expressive. It is necessary to remember some golden rules of the photographer:

. Rule of thirds. When building a picture, try to mentally divide the frame into three equal parts horizontally. If you want to draw attention to the landscape, then it should take up two-thirds of the picture. Conversely, if it is necessary to emphasize the beauty of the sky, the horizon line should run along the lower horizontal line.

. golden section rule. In the same way, mentally divide the picture into three parts horizontally and three parts vertically. The most significant objects should be located at the intersections of these virtual lines. It is best if the main object is one, for example, a tree, a house, a stone or a flower. ()

. Diagonal Rule. Objects such as a road, river, path are best placed diagonally across the frame. The picture will look more lively and dynamic.

And finally, one important nuance for a professional landscape photographer is the mandatory use of a tripod. Without this accessory, it will be very difficult to create a truly professional picture, since ideal lighting conditions are rare in nature, which means that even a slight hand shake can provoke blurry and fuzzy pictures.
Of course, all these rules are just the basis of your creativity. However, their application in practice will greatly facilitate the process of mastering the technique of landscape photography.

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