Facing the sun is smooth, on the contrary, it is the traditional law of backlight photography composition: "experts watch the doorway, amateurs watch the excitement." Since Lao Lang bought a SLR digital camera last year, every time my friends saw Lao Lang's photographic works, they always praised the machine for being good and stopped praising Lao Lang's photographic skills. It seems that people's attention is more focused on devices. No wonder shopping has always been more concerned than applications. Later, the angry and depressed old wolf finally sold the SLR and used the wrinkled old DC. Lao Lang believes that, in essence, theme, light and composition are the decisive factors to judge whether a photo is excellent or not, and these are almost irrelevant to tools. Nowadays, many friends in the photography circle like to subvert the tradition in composition to show off their rebellion and call it a "breakthrough". Lao Lang is by no means a conformist, and he also opposes the uniformity of composition, but the artistic laws summarized by predecessors should be respected. Beginners, in particular, inherit first and then develop-how to break through without understanding the traditional laws? Of course, photographic composition is a very difficult course, and there are a large number of specialized photographic textbooks. Lao lang can only briefly introduce some recognized laws here, dedicated to beginners who have just been dragged down by the increasingly popular DC. When a well-trained photographer sees the scenery in the viewfinder, he will quickly turn them into basic composition elements such as points, lines and surfaces to organize them and find the best relationship between them. This is composition. Symmetry and balance, rhythm and rhythm, contrast and contrast, concreteness and exaggeration are all aesthetics of composition. Limited by space, there are too many theories to talk about. Interested friends can take a look at the photography tutorial. Lao lang took his friends into the door of composition with several examples today, and will explain the details of composition in the future, because composition is a topic that cannot be ignored in photography. The small bamboo raft in the picture is not more important than other scenery, but without it, this photo will be eclipsed a lot because it is the center of the structure. The dividing line between the sea and the beach and the point formed by the girl's back are all near the golden section. Suppose the proportion of the sea and the beach is equal, the girl walks in the middle, and the composition is very dull. If the model's eyes are in the middle or right of the picture, it will shorten the staring space of the characters. Prioritize and highlight the main portrait photos. Of course, it goes without saying that the characters are the main body, and the beautiful background is also a foil. However, some people tend to look at the characters very small in photography (the main reason is that people run to the front of the scene and stay away from the camera, which is a common problem of most people's photography), but the scene is very large and there is no distinction between the foreground and the background, which means that the photo loses its structural center. For landscape films that are less prone to "subject", if the picture structure is not loose, we should choose an object as the fulcrum of the structure, such as a small bridge and a pavilion as the center of the structure, so that we can contact and take care of the scenery before and after. The "subject" in the scenery film is not necessarily more important than other scenery in content, but its role in the structural center is very obvious. Simple background and complex background of subtraction composition will bring interference to the subject and even damage an excellent photo. The background should be handled concisely. Both painting and photography need composition, but the means of expression are different. The difference is that painting is composed by addition and photography is composed by subtraction. That is to say, painting composition always adds some scenery to the picture, and photography composition always tries every means to subtract those unnecessary scenery and the unnecessary scenery in the background, which hinders the main body from protruding, so as to achieve the simplicity and exquisiteness of the picture. Greed is the source of failure, and simplification is the mother of success. In the viewfinder of the camera used by the golden section wolf, there is a display format in which two straight lines form a "well" in the horizontal and vertical directions, which divides the picture into nine equal parts. At first, Lao Lang didn't know what it meant. Later, I learned composition, only to know that it is for the convenience of composition design: if the picture is divided into "nine squares", then the four intersections in the middle are the best places to arrange the main body. The positions of these four points are close to the golden section point 1:0.6 18, so it is easy to obtain better visual effects. Because people look at objects with their eyes, the middle position is the weakest visual area, so most photographers will not use middle composition when dealing with lines such as horizon and sea level, and focus will generally avoid the middle position. Besides the four points, there are two important "lines"-diagonal lines. There are many visual feelings, such as convergence and radiation, which are related to the diagonal hidden in the picture, so composition along the diagonal is also a very important composition method. A truly professional booth or studio will use a plain background to highlight the main body and avoid the "growth" of branches, telephone poles and other sundries from the characters. Outdoor photography also follows the principle of "plain and clean" background. Leave blank to enhance the sense of movement. To make the subject eye-catching and have visual impact, it is necessary to leave a certain gap around, which can be said to be a law of all plastic arts. The general rule of blank space is: the portrait on the side should leave some blank space facing the direction; For moving objects (such as people or cars), leave more white space in front of the direction of travel. Of course, this is just a general rule, so we should use the blank flexibly. If pedestrians emphasize the turban or dress fluttering behind and the smoke rising behind Mercedes-Benz cars, more space can be left behind than in front, because the center of gravity has changed.