How to Analyze Photographs

Look at the intention - read the meaning of the picture ◎ Examine the title of the photograph, and seize the theme revealed by the picture The title (including subtitle) is usually the finishing touch or the most concise summary of the content of most photographic works. Regardless of whether the work is a series of photographs or a single photograph, through the guidance of its title, you will immediately clarify the content of the work and its general meaning. Therefore, when we look at a work, we should look at the picture in conjunction with the title, or rather look at the title in relation to the picture. The information provided in the title comes from time (a certain year, a certain month, a certain day, indicating a specific historical period), from space (a certain place, indicating a specific shooting place), and also describes the events, plots, and even expresses a specific emotional state of mind and peculiar feelings, which are the most important information in the work． Or part of the important information. In short, the title can more or less express or imply the content of the work to reveal and the intention of the creator. Combined with the picture, the title is used as a derivation to summarize the thematic idea of the work. The thematic idea is the soul of the work, and is where the value of the work lies. In the specific analysis process. We also first determine the depth of thought and humanistic position of the work according to the work's intention. And this to infer its existence value and social effect, from the title to start with the picture to infer the intention of the work. And then from the step by step interpretation of the work. Carefully appreciate the creator's refinement and generalization of the shooting theme. As well as the mastery of various techniques of expression. This is actually a reproduction and restoration of the operation process of the creator's mind n we can judge the success or failure of the creation of the photographic works and the high and low ideological taste. Look at the expression - analyze the picture inside and outside the various techniques of expression No matter how important the picture intention. No matter how important the idea of the picture is, it ultimately depends on the way the picture is expressed. Once the idea leaves the expression, it becomes meaningless, because only the expressed idea can be understood and accepted by people. In other words, the meaning that most of us can understand and accept can only be the meaning that is expressed. It can only be the meaning that is expressed. And the degree of understanding and acceptance depends entirely on the degree of expression. It is for this reason that "a high monk speaks only the words of his family". What is said for others to hear is meant to make the meaning of what is said understandable, unless you simply don't want others to understand. The purpose of the mysticism is only to show one's "knowledge". However, the visual meaning is very different from the meaning of words, in fact, the figurative itself has a significant meaning, but this significant meaning is often unintentional and uncertain, in the understanding of a variety of possibilities. The difficulty of visual expression lies in the purposefulness of its expression (i.e., the screening and confirmation of the specific meaning of the figurative). For photography, as long as the image is taken, there exists the expression of meaning, and the problem lies in whether this expression reaches the meaning or not. Whether there is a distance from the intention, and how to shorten or even eliminate this distance, is the main purpose of learning photography as a means of visual expression. Analysis and judgment of modeling ability ◇Analysis of compositional skills 1. Selection and emphasis on the subject. Here mainly includes: the use of lens focal length when shooting works. Selection and control of the scene, shooting distance, shooting height and shooting direction. The scope of the background, dark and light, and the control of reality, the choice of depth of field. Handling of movement, demeanor, and plot control. The choice of moments, and the portrayal of details. Ideas and programs for editing or presentation, etc. Effective means. Can also be said to be the only way. Each specific photographic image should faithfully reflect the photographer's specific shooting intentions. The photographer with the composition means to fully prove that he is shooting the scene of a new discovery of the subject, and the photographer's visual discovery is mainly dependent on his subject to be photographed from a new angle of observation. A new angle produces a new feeling. In the unique angle of the photographic image, the new feeling can be fully and effectively emphasized. Therefore, the full use of photography unique means of expression to select and emphasize the subject object, has become the first task of photographic expression. Such as which lens focal length? Choose what kind of shooting angle? Take what kind of scene (if it is a close-up...). Is the use of wide-angle lens close to the shooting, or the use of long focal length lens back shooting)? Select what kind of depth of field? How to control the details of the picture? How to arrange the reality? How to choose the moment? How to deal with the shadow? If it is a series of photographs, how to conceptualize the overall performance? We analyze the photographic works, is to see what means the photographer is actually used to highlight the main body of the picture, to achieve the purpose of the performance. In terms of shooting distance. Which will have a lot to learn. Some people say that the distance produces beauty, pointing out the importance of maintaining a distance in the aesthetic situation. But in many cases, we are not just for the pursuit of beauty, because there are more important things than beauty in the creation. This is why... Robert Kappa puts it bluntly. Kappa said bluntly: "If your photo is not good enough, it is because you are not close enough." Indeed, for news photos. Nothing is more important than the photo can faithfully reproduce the true feeling of the scene. Of course, Kappa's remarks also contain another layer of meaning． That is the photographer's qualities more admirable persistence, bravery and ready to pay the price of life and sacrifice. Kappa's claim on the modern world of photojournalism is particularly profound. The modern Italian photographer Enzo Sang, who is known for his documentary photography, is also the most important photographic experience. Sang's overriding photographic lesson was also: "I prefer to shoot close, and very close." Although the large compositions he shot are the realization of the photographer's idea of the most is not a news photo . But what the close up gets is a self-dissolution of the act of shooting in the photograph - the image gives the impression... The camera has been completely ignored, the point of view of the lens seems to have disappeared into the subjective feelings. What is left in the photo is just a heart-thumping feeling of truth. Not coincidentally, the success of self-funded global photography of the world's political and cultural celebrities, contemporary Chinese photographer Deng Wei also advocate close-up shooting portraits. In order to "be able to hear each other's heartbeat". This has evolved into a very psychological tension and humanistic spirit of the challenge. 2. The management of the screen space. Here mainly includes: shape (the shape of the main body and the background shape,) and the relationship between the picture space, such as "loose" and "tight", "sparse" and "dense", etc.; balance and the relationship between the picture space. Such as traditional painting in the principle of balance in the use of photography, as well as modern photography composition in the balance of the new changes in the rules, etc.: perspective and the relationship between the picture space, such as the picture of the degree of openness of the angle of view, the feeling of near and far and the depth of the space, the different focal lengths of the lens on the perspective of the exaggerated and compressed processing, etc.; dynamic and the relationship between the picture space, such as silence and flying, the inner more implicit sense of dynamism and the outer more intense and intense dynamism. Influence on the formation and configuration of picture space: rhythm and picture space, such as the visual pleasure generated by the rhythm and the complete expression of visual meaning. The establishment of psychological space outside the painting of the symbolic and allegorical (explicit or implicit) factors required. 3. The composition of the shadow tone of the picture. Refers to adapt to the visual expression of the need to determine the photographic picture of the dark and light configuration, such as: the picture of the tone of the weight of the light and the reasonable distribution of the choice: the handling of the shadow; the establishment of the tone of the picture: the establishment of the tone of the picture: all the shadow of the photo of the technical control: black and white photos in the shadow of the adjustment and the control of the contrast: the relationship between the tone of the picture and the feeling of reality: the background tone of the tone of the main body of the shadow of the differentiation of the processing: the overall effect of the tone of the shadow of the picture with the mood of the atmosphere of the relationship. The relationship between the overall effect of shadow and the mood of the picture, etc. 4. The composition of the picture line. Line is the most abstract and basic visual element that constitutes the main modeling feeling of the photographic image. It can emphasize the shape of the subject and the background. Form a harmonious visual order. Produce visual tension inside and outside the picture. In analyzing specific photographic works, we generally start from the main line of the picture, and deduce the real intention of the photographer to refine and intercept the main line of the picture when creating. Because when we follow the direction of the main line of search. We can naturally understand the meaning of the picture. Therefore, we also usually refer to the main line that runs through the content of the picture plot. Called "visual guide line". 5. The composition of the picture color. Color feeling is the strongest in visual expression. It is also the most externalized, and therefore is also the most difficult to master and the most active visual elements in the creation of photography. Many people can not help it. It is because they do not understand the temperament of color. Especially in the objective color selection and subjective color control, there are traps everywhere, always facing new challenges. The use of color should not only have deep artistic cultivation. There must also be a unique color experience and effective creative expression. 6. Picture background atmosphere. Visual expression is difficult in the atmosphere of the performance. Excellent theater or film director, not only will guide the play, more good at inducing the atmosphere. In fact, shooting photos is the same reason. Many beginners pick up the camera to take pictures, "a blindfold, do not see Mount Taishan", only see the main body, do not see the background, attention is not properly allocated, all focused on the main head, and unknowingly give up the whole picture of the overall management. Photographs taken, due to the background is seriously out of control, the performance of the subject had to suffer from the visual interference of the background clutter, so that the real intention of the photographer can not be clearly expressed. Experienced photographers know that the time and effort spent on the background of the picture, to be far greater than the subject of the time and effort required to select the control. In the specific operation process. Background is often more important than the subject, because the business picture must have a comprehensive consideration. For photographers, the picture must be a comprehensive control. Not only to the background to effectively set off the main body, but also consciously take the background factors as closely related to the subject of information to express n in fact. The background itself is an integral part of the subject's expression. ◇Analysis of lighting techniquesPhotography skills to a large extent is the use of light skills. The success of photography is first of all the success of using light. The special sensitivity to light and the ability to control the subtle and detailed is the essential qualities of the photographer should have. The handling of light. In terms of skills only fully in place, it is possible to form a good expression of the effect, otherwise, even the best idea can not be reflected in the photographic image. The most important thing here is a good sense of light and light sense. Distinguish between professional or amateur, a look at the photographic image of light consciousness. You can know a little about it. Professional photographers always pay attention to the skills of light, and even to the very concerned, almost demanding degree. And professional photographers on the feeling of light appears to be more valuable. Because only a good sense of light. To shoot the scene with the shortest possible time, extremely decisive on the specific light program and measures to make choices and judgments, and in every specific detail on the strict control. The feeling of light, is not just a skillful technology and skills of the problem. Here embodies more of a "Thiness", or a special ability and talent. As an example, the vast majority of photographers in the shooting of portraits, like to use contour light, the characters from the background to distinguish, and at the same time can be used to outline the most worthwhile part of the characters to show the outline of the characteristics. So as to achieve the purpose of beautifying the characters, so many people think that this kind of light is a classic light. However, the excellent photographer is never superstitious about any of the so-called classic light, he always try to innovate, to try to get a new feeling. They are very careful in the use of silhouette light, because everyone's favorite has been used in an overused way, which is bound to be the most lack of creativity, and will appear to be kitsch. They are therefore very careful in their use of silhouettes. They often change the most simple and inconspicuous background light to replace the contour light, and change the atmosphere of the picture to create a substitute for the beautification of the main body of the characters, so that the characters appear to be more "content". In fact, this is a more intelligent approach. The rational use of other integrated techniques of visual language has its limitations, photography is of course no exception. First, photography is only visual, it certainly can not be heard or smelled: Second, photography shows the space is only a two-dimensional flat space, it can not be compared with the real three-dimensional world; Third, photography is a static performance, it is only intercepted in the movement of a moment, but never a process of faithful replication, which in time and space are subjected to extremely strict limitations! --It is only a "slice" in the eternal chain of time and space! These limitations before us are indisputable, inescapable facts. However, when there is a limitation, there is a breakthrough, or to put it in another way, when there is a limitation, there is a breakthrough. It is because of some kind of limitations, we can find their own landing position and survival and development of space, we have the possibility to fully see these limitations. And to start trying to break these restrictions to broaden its boundaries. Many experienced photographers, they have long made many fruitful efforts to break the limitations of photography, such as their synthesis of photography or traditional visual language skills. Some of them even utilize the latest scientific research results in the field of visual psychology. We should pay full attention to this when analyzing their works.