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A brief discussion of photographic art-related essay examples

Photography is a way for people to record the objective world. With the development of modern photography technology, photography has profoundly affected people's daily life. Below are photography-related papers that I have compiled for your reference.

Photography-related essay sample article 1: "A brief analysis of the art of teaching photography classes"

It is not easy to take a good photography class, and it is even more difficult to take a good professional photography class for college students. As a part-time teacher, the author is on the front line of art education and teaching. Through lectures, visits, questionnaires, and surveys, I found that currently a considerable number of our university professional course teachers still use "three old articles" in teaching: blackboard chalk, scripted teaching, Lack of passion. On the surface, this kind of lecture looks a lot like writing a composition. Everyone is writing, but there are not many exciting chapters, and most of them are straightforward. It is suspected of being "label style" or "commodity style". To be honest, the teacher spent a lot of hard work and effort on this kind of lecture, but college students don’t buy it and don’t like it. Students cannot master the knowledge they should master, their quality cannot be improved, and the teaching effect is very little. The author believes that in order to teach professional photography courses in universities well, teachers must pay attention to the art of teaching. To solve this problem, teachers must strive to achieve three words: novelty, emotion and liveliness.

1. Carefully prepare lessons and seek new content.

Seeking new content means exploring the content deeply, expanding new content, and providing sufficient information to college students. . The content of photography courses changes rapidly, especially the emergence of digital technology and network technology, which has a greater impact on traditional photography. To adapt to this change, photography course teaching must "advance with the times." Therefore, we cannot cling to old textbooks and should adhere to the principles of “new information, large quantity, practicality, and subject-based” to organize teaching content. Photography classes will only sound enjoyable to students if they provide them with the maximum amount of up-to-date and useful information in a limited time. The second refers to the innovation and development of content, which requires grasping its essence, occupying the commanding heights, and speaking to the forefront. During the survey, we found that one of the opinions that college students are dissatisfied with their teachers is: the teachers we know repeatedly talk about it, the teachers we don’t understand well omit the talk, the teachers we don’t understand don’t talk about it, and even after the teacher talks, we still don’t know how to do it. ?, this means that these problems have not been handled well. Of course, sometimes the teacher himself is not very clear, so how can he explain clearly?

2. Explain carefully and express feelings?

< p> This is a question of research? How to say it?

With good and latest photography knowledge content, how to turn them into visible, audible, readable and analyzable objects, and use the teacher’s language to make each knowledge point memorized by college students. And mastery? This is another area that confuses teachers. The author believes that only by giving full play to the function of emotion and explaining it carefully can we solve it. The main functions of emotion in lectures are as follows: First, the motivation function, that is, the teacher's positive emotions can arouse excitement, excitement, and pleasant emotional and intellectual experiences in college students, making students full of energy and actively engaging in various topics of interest to them. kind of classroom activities.

Therefore, every paragraph of the teacher’s words in class must be emotional and strive to be naturally revealed from the depths of the soul. Of course, this first requires the teacher to love students and love education. In this case, college students Driven by the teacher's emotional motivation, students will learn happily and transform it into actions that are conducive to teaching. The second is the infection function, that is, personal emotions have an influence on the emotions of others. That is to say, the teacher's emotions can induce college students and make them have similar emotions. This is reflected in many aspects, such as care, care, and trust. The main warm-hearted infection, the demonstration-type infection mainly to inspire comparison, learning, catching up and surpassing, etc. The teacher's care and trust will have a strong infection on the students. The third is the regulating function, that is, human emotions have a regulating effect on human thoughts and behaviors.

This is particularly evident in the teacher-student relationship. A harmonious teacher-student relationship is based on the positive emotions of teachers and students, can stimulate the enthusiasm and wisdom of teachers and students, and arouse the sense of responsibility and enthusiasm of teachers and students. Therefore, teachers must love and respect students, communicate with students in a timely manner, and at the same time, they must adapt to changing circumstances, be considerate, and strive to create a harmonious atmosphere for teacher-student communication. For example, giving students an expression of listening carefully, a look of trust and encouragement, a tone of discussion like a friend, an E-mail to discuss problems, etc. will all achieve excellent results.

The author believes that in the classroom, teachers and students should have close contact and have partnership-style communication, which is conducive to promoting students' individuality, letting students' thoughts fly, and making students truly become the masters of the classroom, the masters of problems, and the masters of learning. The fourth is the transfer function, that is, personal emotions towards others will be transferred to things related to others.

Contemporary college students are rich in emotions, and they are very excited and transferable. Their cognitive activities often rely on emotional experience. They often fall in love with this major because they like to listen to the teacher’s professional courses, and then devote themselves to this career. . Teachers must attract and infect students with a positive image. Teachers’ persistence and love for the art of photography, as well as all kinds of silent care without seeking utilitarian rewards, undoubtedly have a strong affinity and cohesion for students. ?If his body is upright, he will act without being told; if his body is not upright, he will not follow orders even though he is told? Only by being a virtuous and knowledgeable person can our teachers achieve positive emotional transfer, love the house as much as the darkness, and thus become close to their teachers and believe in their ways.

3. Ask questions carefully, and the method must be flexible.

This is a question of who should do the research.

The first is classroom interaction and continuous question and answer. ?Knowledge is the premise and expression is the key?

Music is used as a supplement in the photography class. The teacher consciously teaches interactively between teachers and students and guides students to think, observe, discuss, and write their feelings in class, using selected music that is in harmony with the photographic works and related to the subject. Lectures with music consistent with the classroom atmosphere will definitely achieve very good results. This method can fully mobilize students' eyes, ears, hands, brains and hearts to achieve the purpose of teaching. College students like this kind of atmosphere, in which they are more likely to accept the knowledge provided by teachers.

Second, practice becomes another teacher for students. Each class leaves a practical project, carefully designing a creative theme, and asking students to do it after class. During the next class period, ask students to come on stage to talk about their practical experiences. Encourage every student to stand up and speak and express their opinions, thereby stimulating college students' interest in learning and maintaining their attention. Some teachers may have this confusion: What should I do if students’ initiative is aroused but there are no results in learning? In fact, if students are stimulated to learn interest and master the correct learning methods, isn’t this the result? This kind of failure The results are the most important. After going through an education process, no matter whether the result is achieved or not, in fact, the process itself is the result, which is intangible and precious. What is quality? This result is called quality. In many cases, the results of education have not yet appeared, but the process has already existed. During this process, college students' thinking methods and learning initiative have changed. This change is a change in quality, which should be the goal of our education. It doesn't matter whether the student answered the question right or wrong. What matters is that he dares to express his opinion. It doesn’t matter whether the student’s work has results or not; the process of doing it is already important. Because in this process, practice is teaching college students. As Wang Yang, a girl from the School of Humanities of Jianghan University, said: Rather than saying that photography is a course, it is better to say that it is a mirror, allowing us to learn to examine ourselves and our living conditions from life and practice, and gain from it. Enlightenment and philosophy of life. ?

To sum up, when teaching, teachers of photography courses in colleges and universities should conscientiously implement three words: novelty, emotion, and liveliness, and carefully solve the problems of what to teach, how to teach, and who will teach. It will be warmly welcomed by college students and will also receive good teaching effects. Photography-related essay sample article 2: "A brief discussion on the composition of photography

Abstract: In the art of photography, photographic composition has its own unique formal rules. A successful photographic work is very particular about the layout of the picture. It not only conforms to people's life rules, but also conforms to people's psychological and visual habits. Only after mastering these inherent laws can the most beautiful and touching artistic images be conveyed to the audience in the process of artistic practice.

Keywords: symmetry and balanced primary and secondary relationship, golden section, blank screen

1. The meaning of composition

Composition is called composition in traditional painting theory. ?, ?Layout?, ?Business location?, etc. It refers to arranging images according to the needs of the picture to reflect the overall effect of the work. As the first step in photography, composition determines its complexity and richness due to the particularity of its creative techniques.

In fact, any art form has its own inherent formal laws. Only after mastering these inherent laws, in the process of artistic practice, can the most beautiful and touching artistic image be conveyed to the audience. Although the formal laws of photographic composition are not dead, understanding these formal laws can avoid some elementary mistakes; mastering and applying these formal laws is a shortcut to shaping the artistic image and revealing the theme.

When designing the composition of a photographic picture, the most important point is the balanced beauty of the composition. In daily life, everyone may have had the following experience: a chair tilted will make people feel unstable. Most solemn and dignified things are very symmetrical, such as the stone lions at the entrance of ancient palaces. They exist in pairs, giving people a symmetrical beauty. Therefore, the balance of the photographic work is very important when composing the picture.

2. The application of symmetry and balance in pictures

Symmetry symbolizes a high degree of orderliness. For example, butterflies have always been appreciated by people for their symmetrical shape and wing patterns, and symmetrical images can often be seen in photographic works. However, most photographic works do not pursue half-half-half symmetry in the composition, but rather It is a deliberate effort to achieve the visual balance of the picture.

The balance of the layout of the photographic screen is a measure of the stability of the locations of all visible images in the screen using people's visual and psychological habits. In the composition of photography, absolute symmetry will give people a feeling of stillness, restraint, and monotony. People's aesthetic requirements in life are still mostly about the pursuit of balance. Excessive use of symmetry can make people feel dull and lack vitality. Balance is to break the rigid situation. It has both an "equilibrium" side and a flexible side. Structural balance means that the scenery in each part of the picture should echo and contrast to achieve balance and stability. The scope of balance includes the contrast of images in the composition: people and people, people and objects, big and small, movement and stillness, light and dark, high and low, virtual and real, etc.

For photographers, the balance of the layout is the result of the ideal structure, so dealing with the issue of balance is also the issue of dealing with the structure of the picture. As the two major components of a photographic picture, the subject and the companion are the main and auxiliary objects for expressing ideological content. Therefore, when dealing with the balanced layout of the picture, the first thing to consider is the echo between them, including the echo between the two in terms of plot, emotion, dynamics and momentum.

3. The primary and secondary relationship in the composition

According to the requirements of the theme, select valuable scenes and objects to form a photographic picture. The object that best embodies the theme in this picture is the subject. In the picture, those objects that do not directly embody the theme, but only serve as a foil and foil to the subject to a certain extent, and help the subject explain the theme, are customarily called companions or surroundings. In the photographic images, the primary and secondary relationships must be properly arranged and handled to avoid clutter, lack of distinction between primary and secondary, submerging or losing the subject, and resulting in the phenomenon of no theme.

When designing the picture, we should pay attention to the relationship between the subject and the companion. If a photo only has the subject without the companion, the picture will appear dull and unchanged, but the companion cannot overwhelm the guest; the subject must be in the picture. To stand out clearly, abandon the complex and keep it simple. If necessary, you can change the shooting position and angle, or move unnecessary things to achieve the effect of conciseness and highlighting of the subject. The following two points can be grasped in terms of the primary and secondary relationship between photo frames: First, if you encounter a cluttered background, you can enlarge the aperture to blur the background to highlight the subject. Second, choose a suitable angle to shoot and avoid cluttered backgrounds to make the characters stand out.

Fourth, the use of the golden section in composition

The most common mistake for beginner photographers is to put the most attractive scenery in the middle. Indeed, the scenery in the middle is the easiest to attract attention. However, placing an attractive object in the middle can easily make people focus only on that object, making the picture dull.

Since you want to avoid centering, you need to know the so-called "golden section", which is the "golden ratio". When used in compositions in art and photography, it is often represented by the ratio of 5:8. In addition, the nine-square grid composition (also called the tic-tac-toe composition) is actually a form of the golden section.

That is to draw two horizontal lines at the 1/3 and 2/3 positions of the picture in the horizontal direction, and draw two vertical lines at the 1/3 and 2/3 positions in the vertical direction, and then place the subject as close to the intersection as possible. In fact, these intersection points all conform to the "golden section law" and are the best positions. Of course, balance, contrast and other factors should also be considered. This kind of composition can show change and movement, and the picture is full of vitality. These four points also have different visual perceptions. The two points above are more dynamic than the ones below, and the left one is stronger than the right one. In specific photographic compositions, it can be applied to plot contrast, virtual and real contrast, dynamic and static contrast, size contrast, etc.

5. Deal with the blank space of the picture

The blank space in the photographic composition is caused by the scene itself, such as smoke, clouds, fog, sky, water and gaps; It is made by the artistic processing of light and color. The mutual contrast between solid and blank forms a regular ups and downs rhythm and produces a certain sense of rhythm. It is one of the widely used means of photographic art in dealing with the relationship between virtuality and reality in picture composition.

The relationship between virtual and real is easier to see and distinguish in photographic images. However, when dealing with it specifically, we must pay attention to the relationship between the entity and the blank space, so that the picture is varied and not rigid. White space can often depict artistic conception and enhance atmosphere. When used properly in the picture, it will add a positive effect to the form of the composition. White space also has the function of creating momentum visually and psychologically. There should be a certain amount of white space in the direction of movement and gaze, which can leave room for people to stretch out, create a certain directionality, and help strengthen the feeling of movement. Sense of space. That’s why it is said that most of the beauty of real things comes from empty spaces. This shows the importance of white space in composition.

Like painting, photography is also an artistic technique. The key is the crispness of lines and the harmony of the picture. A good composition not only makes people feel that the theme is clear, but also gives people a visual and psychological impact. Therefore, to improve your photography skills, you must start with composition. Of course, composition form is not absolute, it can only provide help and reference for photographic expression. There is a saying that goes well: rules are meant to be broken. All rules are not dead. Absorbing the experience of predecessors will have a positive effect on the formal expression of photography and will be conducive to the understanding of formal beauty. Photography-related thesis sample article three: "A brief discussion on the practical teaching reform of film and television photography courses"

At present, almost all major domestic universities offer undergraduate courses in the Department of Photography, Department of Radio and Television Directing, and Department of Radio and Television. The film and television photography course is regarded as a professional basic required course. The photography department where the author works has a film and television photography direction for the first and second grade students. The courses "Fundamentals of Camera Technology" and "Film and Television Photography Styling" are offered respectively. The course of film and television photography has a strong theoretical and practical nature. How to better conduct practical teaching is an important issue for teachers to think about and solve.

1. Reasonable and practical practical teaching reform concepts

Students in the photography department have to learn several professional basic courses that focus on practice in their first and second years. When studying "Film and Television Photography Styling" Before taking the course, you must first complete "Fundamentals of Camera Technology". It should be said that "Fundamentals of Photography Technology" focuses on the learning and training of basic knowledge and techniques, while "Film and Television Photography Styling" focuses more on cultivating students' artistic sense, innovative thinking and picture modeling abilities. At the same time, students in the photography department will also be offered other related courses as useful supplements. In the process of teaching film and television photography courses, the author adheres to the concept of "emphasis on both theory and practice, with more emphasis on practice" based on the characteristics and nature of the subject. This is done to improve the shortcomings of previous film and television photography classes that relied too much on classroom theoretical lectures. Most teachers used a single cramming-style theoretical indoctrination and neglected to cultivate practical skills. Usually, according to the formulation of the teaching syllabus, the number of theoretical classes and practical classes is set at a ratio of about 1:2, and the teaching links are advanced according to the rhythm of "theory-practice-theory-practice". That is to say, the ultimate goal of every classroom theoretical teaching is to guide students in practical exercises and operations, fully transform the theoretical knowledge learned in the previous stage into practical abilities, and improve students' practical skills and levels. Then proceed to the next stage of "theoretical class-practical class" study. For example, in the "Fundamentals of Camera Technology" class, after the teacher has taught the basic principles of digital high-definition cameras and theoretical knowledge such as exposure control and white balance adjustment, he will arrange a practical class in the next stage of the class. The teacher will divide the students into groups and explain Demonstrate the operation steps of camera exposure and white balance control, and then guide students to practice in groups one by one.

Teachers promptly point out and correct students' operational errors in class. After students have basically mastered this part of the practical content, they can proceed to the next stage of "theory-practice" teaching.

2. Improving practical teaching methods

As a subject, film and television photography has strong theoretical and practical nature, and it is also a subject that integrates technology and artistry. In practical creation, the expression of a film and television photographer's artistic creativity depends on solid technical literacy and level. The key to testing whether a student's theoretical knowledge is solid or not is to look at his practical ability. Therefore, how to teach practical classes well to improve students’ professional practical abilities is an important issue faced by teachers in the film and television photography major. Based on several years of teaching experience and reform attempts, the author usually uses the whole class group teaching method when teaching theory. In the practical class, a small-class learning method is adopted where students are divided into groups for demonstration and explanation, and students are divided into groups for practice. Taking into account the current reality that each natural class has a large number of students and relatively limited experimental equipment, the teacher controls the number of group members to about 6 each time he instructs students to divide into groups. The purpose of not having too many members in each group is to ensure that each student has enough time to practice operations in the practical class. Whether it is classroom practical exercises, practical assignments after class, or final assignments, students complete practical shooting in this relatively fixed group.

1. Use multimedia technology to improve teaching effects

In practical classes, teachers use multimedia imaging technology and combine excellent film and television work cases to analyze students’ problems that arise during practice. Compare and guide general and individual errors. Teachers can select clips from film and television works with excellent photography and compare them with the problems that arise in students' practical assignments to analyze, explain and guide them. For example, when students practice the practical content of using a camera to shoot different scenes from a fixed camera position, a common problem for beginners is that the scene framing is not standardized, the scene between lenses is unreasonable, or the scene is too single. At this time, the teacher used multimedia to play some footages with standardized scenes in excellent film and television works for students, and then compared common error cases in students' practical assignments to help students analyze problems and find solutions.

In this link, the teacher avoids being limited to teaching knowledge and techniques in one aspect, but guides students to compare their own exercises to think, check, discuss in groups, analyze problems, and actively mobilize students' enthusiasm. Create an active and interactive classroom atmosphere. In this way, students will better integrate professional theory and practice while actively thinking and enthusiastically participating, thereby improving their own practical level. In addition, in classroom exercises, the digital high-definition cameras currently used generally have USB serial interfaces, and students can directly copy the homework materials of the shooting exercises to the multimedia computers in the classroom. The teacher plays back and explains the practice materials that students have taken on the spot. This ensures that students’ problems are discovered as soon as possible in the practical classroom. Teachers promptly point out the symptoms of problems to students and discuss solutions with students.

2. Help students formulate shooting themes and plans according to their characteristics

The practice of film and television photography requires students to mobilize their multi-faceted abilities. It is a comprehensive application of "brain, eyes and hands" process. It requires the photographer to observe carefully with his eyes, think actively with his brain, and finally control the camera with his hands (and body) to complete the operation and shooting. Therefore, the practical creation of film and television photography tests a person's comprehensive coordination ability. In group shooting, it also tests students’ teamwork and communication abilities. According to the number, structure and characteristics of the students in the natural class, the teacher will guide them to reasonably group and match, formulate a reasonable shooting schedule and time cycle control. If there are subjects to be photographed and interviewed, teachers will instruct students on how to communicate with the subjects (although how to interview is not the focus of the film and television photography class). Even during the final assignments, which take a long time to shoot, the teacher should teach some knowledge about production management and remind students to make alternatives and plans in advance for some production difficulties that may arise during the shooting process. For those who significantly change the shooting plans and plans for practical assignments, students are guided to mobilize existing resources and conditions to shoot better images as much as possible.

3. Expand practical teaching space and keep up with industry development trends

One of the distinctive features of the subject of film and television photography is that with the development of science and technology, new creative equipment and shooting Ideas emerge in endlessly and are updated at an extremely fast pace. For example, when I first started teaching, the leading technology in the industry was digital full HD technology. In a few years, the current development trend in the industry is 4K technology, digital film photography creation, log mode shooting and even the use of VR technology in the future. All this means that whether you are a professional teacher, student or practitioner, if you want to pursue a career in film and television photography, you must maintain your curiosity about new things and maintain a state of continuous learning of new knowledge. Only in this way can the students we train will have a wider and wider professional development path in the future and will not be eliminated by the industry. Based on this, teachers actively use relevant professional knowledge and information resources on the Internet and combine them with classroom practice content. Broaden knowledge for students. For example, when introducing knowledge about industry-leading RED and ARRI digital cinema cameras, there is little content in this aspect in common paper textbooks and materials on the market.

Teachers search professional technical websites, find appropriate information to intercept into video images, make picture PPT and text introductions, select industry experts to introduce the performance indicators of the camera and precautions for use, all of which can As a supplement to practical teaching. It not only stimulates students' interest and enthusiasm in learning, but also brings advanced knowledge and concepts in the film and television photography industry to students, allowing them to grasp professional development trends and trends in a timely manner. In addition, professional film and television photography exchange websites and information public accounts are also good channels for teachers to guide students to broaden their knowledge. The more professional film and television industry websites, Filmmaking Network, V Movie Network, WeChat cinematographer public accounts, cameraman public accounts, etc. often have technical articles and creative experiences published by people in the industry, and teachers will often select useful information. Introduced to students. These websites generally also have a work exchange area. Students can put their own works in this section for exchange and listen to more opinions from people in the industry. In this way, the areas where students obtain professional knowledge and practical experience are not limited to classrooms and campuses. They have more opportunities to receive more cutting-edge professional information and improve their practical level. 3. Comments on practical assignments

1. Classroom display of students’ practical works

After each practical assignment and the final assignment, the teacher will arrange for each group to use Multimedia is publicly displayed in the classroom, and teachers comment on it on the spot. This is also an indispensable and important part of the practical teaching of film and television photography classes. During the class presentation, group members will explain their creative ideas and concepts, talk about the problems and solutions encountered during the shooting process, as well as unsolved technical and artistic problems, etc. Teachers arrange this in order to gain an in-depth understanding of students' practical creative processes. The process of students' practical creation is a concrete and true reflection of testing their mastery of theoretical knowledge. Some of the problems reflected in students' works are common to everyone, while others are unique to each group or even each student. When students in each group show and introduce their practical shooting experience, other students will also reflect on the problems existing in their own works. Good practical experiences can be verified and shared, and teachers need to guide students to think about existing problems. When necessary, teachers can make it clear to help students improve their professional level and make progress in the next shooting.

2. Protect and stimulate students’ creative enthusiasm