Hello dear readers of my blog. Today let's talk about statics and dynamics in composition. Last time I talked about symmetry in composition. Knowledge of such rules contributes to the successful construction of a composition in painting and in other forms of art.

Statics

STATIC, STATICITY(lat. staticus, from the Greek. statos - “standing”) - in the visual arts - the quality of rest, the balance of visual forces (see construction; style; balancing). In most cases it matches symmetrical compositions with a metric structure, characteristic of the art of Classicism. Opposite qualities- dynamism, asymmetry, rhythm inherent in the Baroque style (comparative expression).
Yandex. Dictionaries› New encyclopedic Dictionary visual arts

According to the construction schemes and the nature of the interpretation compositional solutions are of two types: static and dynamic. Static compositions convey a state of peace and balance.

Compositions built in a rhythmic combination are based on color and line, the ratio of width and distance between them. Such works can be attributed to static compositions.

In addition to the static character of the figure itself, great importance the location of these figures in the composition plays, so the lower the entire composition is located to the edge of the sheet, the more static it looks. The more symmetrical, the more static.
But any static shape can be turned into a dynamic one: a square can be placed in a corner, a box can be placed vertically, a pyramid can be tilted, etc. In addition, they can be positioned in such a way that it seems to the viewer that it is all about to fall. A composition that tends to change from the arrangement of its elements is dynamic.

Dynamics

DYNAMICS(from the Greek dynamis - “strength”) is the alternation of any elements in a certain sequence. In dynamic compositions, elements are located along diagonal axes or freely located on the plane of the picture. They more clearly emphasize the feeling of movement, a more diverse arrangement of objects, there is a bold violation of symmetry. You can observe the displacement of the contours in relation to the color spots. Color solution in dynamic works it can be pronounced and more emotional.

The dynamic ones are:
a triangle and a parallelogram standing on the short side, an ellipse, a ball, a pyramid, a parallelepiped standing on its narrow side, etc.

Master class on monotype with a photo for children from 7 years old

Fundamentals of visual literacy: statics and dynamics in composition

Author: Natalya Aleksandrovna Ermakova, Lecturer, Municipal Budgetary educational institution additional education children "Children's art school named after A. A. Bolshakov, city of Velikie Luki, Pskov region.
Description: work can be done with children from 7 years. The material can be useful for teachers educational institutions, additional and preschool education.
Purpose: design of creative exhibitions and interior design.
Target: Creation decorative composition in non-traditional drawing technique monotype.
Tasks:
-continue to introduce children to the basics of visual literacy: visual means (point, line, spot), rules for constructing a composition (compositional center, color balance);
- introduce the concept of statics and dynamics in composition;
-to improve the skills of working in the technique of monotype, gouache;
- exercise in the work with different brushes in accordance with the task, exercise in the ability to work with the entire bristle of the brush and its tip;
- to develop creativity and imagination.

Hello dear guests! Today we are returning to the study of the basics of composition, what is it? Composition means the compilation, connection, combination of various parts and objects into a single whole in accordance with an idea, design. This is a thoughtful construction of an image, finding the ratio of its individual parts (components), which ultimately form a single whole - an image that is complete and complete in terms of linear, light and tonal structure.

IN previous work we found out that composition is a way of arranging objects on a piece of paper. What you need to arrange the picture so that there is not much left empty space on the sheet. To do this, we studied the location of the sides of the sheet. We learned to place the image in the middle so that everything we planned would fit on the whole piece of paper, so that there would be very little empty space above, below and on the sides. We got acquainted with the new science - the basis of fine literacy, with the rule of balance in composition.
balance in composition.

There are a lot of rules for constructing a composition, today we will get acquainted with new concepts - statics and dynamics. Difficult at first glance, the names mean a state of rest (statics) and movement (dynamics) in painting.
There is no action in a static composition. Stable, motionless, often symmetrically balanced compositions are calm, silent. In addition to the static (resting state) of the figure itself, the location of these figures in the composition is of great importance, so the lower the entire composition is located to the edge of the sheet, the more static it looks. The more symmetrical, the more static.

But any static shape can be turned into a dynamic one: a square can be placed in a corner, a box can be placed vertically, a pyramid can be tilted, and so on. In addition, they can be positioned in such a way that it will seem to the viewer that all this is about to fall. Dynamic ones include: a triangle and a parallelogram standing on the short side, an ellipse, a ball, a pyramid, a parallelepiped standing on its narrow side, and so on. Therefore, a composition that seeks to change its elements is dynamic, that is, it is in motion.

So, dynamics (from the Greek dynamis - “strength”) is the alternation of any elements in a certain sequence. In dynamic compositions, the elements are located along diagonal axes or are freely located on the plane of the picture. They more clearly emphasize the feeling of movement, a more diverse arrangement of objects, there is a bold violation of symmetry. You can observe the displacement of the contours in relation to the color spots. The color solution in dynamic works can be pronounced and more emotional.

Today we will consider the dynamics and statics in the composition using the example of a color spot. The creation of any composition is necessarily work with the form. Its ultimate goal is to achieve artistic expressiveness forms. In general, the course of such work is a complex and inseparable process of shaping, the creation of which is helped by various expressive means - a point, a line and a spot.
Point-despite its relatively small size, it has a very wide range of possibilities in building a composition. Very often it is she who is the center of her entire system, the point can focus the attention of the viewer on herself. Even a single dot on a sheet can already say something, for example, about imbalance, instability in the composition. Interacting with other points, it will tell much more, create a coherent story. But everything depends on the properties revealed in the composition: location on the plane, relative size, silhouette, filling density, brightness. In this sense, it closely merges with other graphic means of constructing a composition, their artistic properties.

The point is included in a number of other visual means, making up an equivalent part of the overall composition. So artistic properties points are directly connected with the properties of line, spot and color, forming a generally harmoniously organized, graphic plane.
Already the single line itself, and not just the line as an element of the structure specific composition can give an emotional characterization. So, the lines can be called: strong, uncertain, light, restless, impetuous.
The spot has a certain characteristic of tone (darker-lighter) and, in this regard, is clearly associated with the sensation of "mass". Of course, the spots are huge expressive possibilities, and of course, they are enhanced in interaction with other graphic and color means of composition. Unlike a dot and a line, a spot tends to fill most drawing, fills the drawing with content, gives an emotional background (sadness, joy), various states of nature and much more.

Materials and tools:
- A3 sheet
- glossy paper of a smaller size (any surface that does not quickly absorb moisture is suitable - package, thermal adhesive, whatman paper)
-brushes
- jar and rag
- scissors (they are needed to cut paper to create prints)

Master class progress:

Our today's work is based on the creation of various prints of color spots, in other words, this unconventional technique drawing monotype. The word "monotype" consists of two Greek words. "Monos" is one, "typos" is an imprint. We will try to find an image in a random print, create a dynamic or static composition.
We start by applying color spots of any color to a piece of glossy paper. The ink must be applied thickly on the paper so that good prints are obtained.

Now let's create a print, set the color spot in motion. It is necessary to turn over a sheet of paint and attach and clean slate, then create a motion path. With one hand we hold a large sheet, and with the other we slide a piece of paint along a large sheet.

The paint on the leaf where it was originally applied has shifted, turning into a single smoothly flowing spot. Let's stop on this image for now and dream up. The spot is very similar to a beautiful tropical fish, it remains for us to fill the entire area of ​​the paper with content.

We add a background, and now the fish has stopped and looks at the underwater blue reef with curiosity, it is in a state of rest.
Then we add air bubbles to the drawing and we get the impression of a smooth undercurrent, the composition has become dynamic.

Now consider the print that we got on a large sheet. Let's turn the sheet to different sides and see what the color spot looks like.

Let's consider the vertical version, it looks like a deer, we will highlight the contours of the ears, head, torso with lines.

The composition can be supplemented with a landscape in the background.

The second option for working out the imprint is an outlandish ostrich bird, it looks into the sky, there birds fly in the height under the very clouds.

Let's turn the print over again, it is very reminiscent of a swan bird, or someone from the order of goose and duck-like. Let's get to work on the background, we will use blue gouache. First, let's draw the water surface. First of all, the silhouette of the bird's figure is outlined, and then the background is painted over in a horizontal direction.

On a wet background, draw wavy lines of blue and white color V chaotic order and horizontal direction-waves.

It creates the impression of ripples on the water, which means the breeze is blowing.

Now heaven, it must be lighter color water. We use white and blue gouache, first we outline the outline of the bird.

Then we apply smooth horizontal strokes to the paper, and enter into the background Brown color. We create smooth transitions from color to color.

Draw a beak with red gouache, add some white shades.

Then the white lines enter the entrance, we decorate the bird.

Let's imagine that the wind blew harder, the waves get bigger and foam appears on them - draw it with white gouache.

By sticking the brush to the sheet, paint clouds with white. Note that both the waves and clouds are moving in the same direction.
Then, in brown with a little green added, draw a strip of land on the horizon line (where the water meets the sky). And since the wind is blowing here, we will bend the tree trunks slightly, draw them with a thin brush.

In yellow we draw the crowns of trees - brushing.

We draw one eye of the bird, as its head is turned sideways to us. Then we add red leaves to the crowns of the trees, and the work is finished.

That's what happened to my children - tropical birds.

Flock of sea turtles.

Marine fish jumping out of the water.

Proud birds from the eagle order.

Koschey and kikimora.

Sea Predator.

Visual art is based on the concept of "composition". It provides meaningfulness and integrity of the work. Solving an artistic problem, the creator selects expressive means, thinks over the form of embodiment of the idea and builds a composition. To represent the idea, the artist needs a variety of means, one of which is the dynamics and statics in the composition. Let's talk about the specifics of static and dynamic composition.

The concept of composition

B is the leading characteristic of the art form. It ensures the unity and interconnection of all elements and parts of the work. Researchers invest in the concept of "composition" such meanings as a skillful combination of expressive means, the embodiment of the author's intention in the material, and the development of the theme in space and time. It is with her help that the author presents the main and the secondary, draws up the semantic and visual centers. It is present in any kind of art, but the dynamics and statics in composition are most tangible and significant in composition - it is a kind of tool that streamlines all expressive means, and allows the artist to achieve the highest expressiveness of form. The composition combines form and content, they are united by an aesthetic idea and artistic intent author.

Composition principles

Despite the fact that the main unifying principle of the composition is the unique idea of ​​the artist, there are common patterns of constructing the compositional form. The basic principles or laws of composition have developed in artistic practice, they were not artificially invented, but were born during the centuries-old creative process many artists. Integrity is the first and most important law of composition. According to him, the work must have a carefully calibrated form, in which nothing can be subtracted or added without violating the plan.

The primacy of ideas over form is another law of composition. All means are always subordinated to the idea of ​​the artist, first the idea is born, and only then does the material embodiment appear in color, texture, sound, etc. Any composition is built on the basis of contrasts, and this is another law. The opposite of colors, sizes, textures allows you to draw the viewer's attention to certain elements of the form, highlight the compositional center and give the idea a special expressiveness. Another immutable law of composition creation is novelty. Each work of art is a unique author's view of a phenomenon or situation. It is in finding a new perspective and new means of embodying an idea, perhaps eternal and familiar, that lies main value creations.

Composition tools

Each has developed its own range of expressive composite means. In the visual arts, these include lines, strokes, color, chiaroscuro, proportions, and golden ratio, form. But there are also more general means, characteristic of many art forms. These include rhythm, symmetry and asymmetry, the allocation of the compositional center. Dynamics and statics in composition are universal means expression of an aesthetic idea. They are closely related to the existence of composition in space and time. The unique ratio of different media allows artists to create individual and original works. It is in the arrangement of this expressive arsenal that the author's style of the creator is manifested.

Types of composition

Despite all the individuality works of art, there is a rather limited list of compositional forms. There are several classifications that different grounds distinguish types of compositions. According to the features of the representation of the object, frontal, volumetric and deep-spatial types are distinguished. They differ in the distribution of objects in space. So, the frontal one represents only one plane of the object, the volumetric one - several, the deep-spatial one - shows several long-term plans and placement of objects in three dimensions.

There is also a tradition to single out closed and open compositions, in which the author distributes objects either relative to the center or in relation to the outer contour. Researchers divide compositional forms into symmetrical and asymmetric, according to the dominant arrangement of objects in space with a certain rhythm. In addition, the dynamics and statics in the composition are also the basis for highlighting the types of form of the work. They differ in the presence or absence of movement in the work.

Static composition

Stability and static have special associations in humans. The whole world around tends to move and therefore something constant, unchanging, motionless is perceived as a kind of value. Looking at the laws of composition, the researchers found that static is present in almost all art forms. Artists from antiquity have seen special art and the difficult task of capturing the beauty of some subject or object. Static compositions are perceived as emotions of peace, harmony, balance. Finding such a balance is a real challenge for the artist. To solve this problem, the artist uses a variety of means.

Static composition tools

Both statics and dynamics in the composition, simple figures in which they are the main expressive means, use a different set of forms. Static is excellently conveyed by such geometric figures like rectangle and square. For static compositions characterized by the absence of bright contrasts, colors and textures are applied close to each other. The objects in the compositions do not differ much in size. Such compositions are built on the nuances, the play of shades.

Dynamic composition

Dynamics and statics in the composition, the definition of which we present, are solved with the help of traditional expressive means: lines, colors, dimensions. Dynamics in art is the desire to reflect the transience of life. Like statics, conveying movement is a serious artistic challenge. Since it has diverse characteristics, this problem, unlike statics, has many more solutions. Dynamics evokes a diverse range of emotions, it is associated with the movement of thought and empathy.

Dynamic Creation Tools

To convey a sense of movement, a wide range of expressive means is used. These are vertical and distribution of objects in space, contrast. But the main means is rhythm, that is, the alternation of objects at a certain interval. Movement, static, are always interconnected. In each work, elements of each of these principles can be found. But for dynamics, rhythm is a fundamental principle.

Examples of statics and dynamics in composition

Any art form can provide samples of static and dynamic compositions. But in the visual arts, they are much easier to detect, since these principles are basic for visual form. Statics and dynamics in composition, examples of which we want to present, have always been used by artists. Samples of static compositions are still lifes, which were originally built precisely as a caught moment of stopping the movement. Many are also static. classical portraits, for example, Tropinin, Borovikovsky. The embodiment of statics is the painting by K. Malevich "Black Square". Many genre, landscape and battle works are dynamic compositions. For example, "Troika" by V. Perov, "Boyar Morozova" by V. Surikov, "Dance" by A. Matisse.

reticulate.

Glancing Reflection Plane is a set of planes of symmetry and parallel translation.

Examples of opposite symmetry are also: a positive relief form (bulge) and a negative one equal to it (deepening); a figure of one color and an equal figure of another color (tone); black and white ornament on the principle of "positive - negative".

Similarity symmetry will be observed if, simultaneously with the transfer, the size of the figure, the gaps between the figures will decrease or increase.

An ornamental motif can be made using similarity symmetry.

>>>back to top

2.5. STATIC AND DYNAMIC COMPOSITIONS

All ornamental compositions are divided into two types

- static and dynamic(by analogy with objects of nature - motionless and moving). Figurative meaning dynamic composition- movement, development, tension; static - peace, immobility, closed form. Combining elements of a dynamic and static nature, you can create many ornaments that are diverse in composition.

Typical properties of static and dynamic composition

A motif will be static if it can be divided by a plane of symmetry into equal parts so that one half of it is

mirror image of the other. Similarly - with two planes of symmetry (vertical and horizontal). The static nature of the motif is determined not only by its symmetry, but also by its inclination. Verticals and horizontals cause a feeling of stability, peace (statics). Slanted lines are dynamic. All asymmetrical motifs are dynamic, they are divided into unequal parts. The dynamism of these motifs in the compositions is emphasized by the slope.

Ornamental compositions often use a combination of static and dynamic elements. Circular arcs in vertical and horizontal arrangement are static. Circles are always static. Spirals, parabolas, etc. are dynamic.

Static rapport compositions

The main task in creating static compositions is to organize an integral ornamental structure that expresses the idea of ​​statics. The greatest visual stability (static) of the ornamental composition is achieved with a square shape

When creating a static composition, first of all, you need to build a rapport grid. Then arrange in it the given motives in horizontal rows. Location of motifs

in the grid has three options depending on the ratio of the background and the pattern:

1. The distance between the motifs is less than the motif (the most compact arrangement of the pattern).

2. The distance between motifs is commensurate with the motif itself (the principle of sameness -

V checkerboard).

3. The distance between motifs is much greater than the motif (sparse arrangement).

The more the elements of the pattern are consistent according to the principles of symmetry and uniformity, the more they express the idea of ​​the statics of the entire ornamental composition.

For example: in a patchwork composition, the same square rapports - blocks and the same intervals between them horizontally and vertically - a lattice.

However, the desire to create an absolutely balanced

in all respects, the composition can lead to dryness and schematism of the composition, deprive it of the necessary diversity and expressiveness. To prevent this from happening, an element of dynamism should be introduced: the rectangular shape of the rapport, the opposition in one rapport of large and small motifs, the tonal emphasis on one of the motifs or a different color tone, etc. The introduction of dynamic elements into a static composition only increases the static character of the picture. It is only important that precisely those expressive means of the composition that give it static character dominate.

Graphic interpretation of the motif

1. Linear solution of motives (use of a line). In patchwork, these can be stitch lines.

or patchwork lines.

2. Spot solution of motives (use of spot). Compared to linear, it is more active and ponderous, it focuses attention on rhythmic alternation.

3. Linear spot solution of motives (use of lines and spots).

In patchwork, this can be a combination of stitches and patterns.

Dynamic rapport compositions

Dynamic ornamental compositions are built according to principle of diversity. The most important thing in a dynamic composition is the coordination of the various movements of the elements, the search for the main ones and the subordination of the secondary ones to them.

The sensation of movement (dynamics) is achieved:

in the absence of an axis of symmetry at the motif itself;

if the motive has at least one axis of symmetry - due to the rotation of the motive;

with absolute symmetry of the motif - by changing its size.

The more dynamism in photographic images, the more greater influence they have on the viewer: they have a lot of movement, life, drama. Let's see together what needs to be done so that your photographic works, and we will talk about landscapes, are full of dynamics.

We are always attracted by photographs that capture some special moments in life, in which the author captures our attention, forcing us to hold the viewer's gaze on his work. Here the “what is” effect is triggered when we first see something new, unusual, original.

By visiting various well-known photo sites, looking at the works presented there, you can find many similar friend on a friend of photographs depicting pictures of nature. Although they will present views of various localities, they will still in their own way most often be boring and monotonous in their content. The most successful photographs always capture something unique that you would never pass by if you got it in your real life. In other words, the photographs that are literally admired are all full of exactly what we call dynamism.

What is dynamics in a photographic landscape?

So what are the features of landscape shots that we call dynamic?

For example, we shoot a sea tide or a slight rough sea. To convey the dynamism of this natural phenomenon, you can, having previously set up the camera as you need according to lighting conditions and everything else, mount it on a tripod and take not one, but a series of shots at once. And then, as a result, all the waves taken in motion, projected on one frame, seem to mix with each other, and in the photograph we will get a dynamic and lively image of them. If we turn to Wikipedia, one of the most popular sources of information, then there we can find material of interest to us on the issue of dynamics in the image of the landscape, but this is just the personal opinion of one of the experts in this field.

Let us express our own thoughts on this issue.

The display of the indefatigable and great energy of nature, endlessly changing and transforming - that is, in our opinion, the dynamics in the image of the landscape. Looking at dynamic pictures, we seem to observe the 3D effect, since these pictures are unusually deep and capacious in their content. They seem to be out of the ordinary. flat image, gain volume. For the first time the term "Dynamic image of landscapes" can be found in Galen Rowell (Galen Rowell), This wonderful landscape photographer described his work created in the early 70s of the XX century in this way.

Of course, other masters of landscape photography at that time also took pictures that were interesting from the point of view of dynamics, but it was thanks to Rowell that the term “dynamic landscape” came to life and became often used. He became kind calling card this master, his hallmark. The dynamic landscape is even identified with his work.

Dynamic composition

As in other genres of fine art, the basis of any good photographic work is composition. Regardless of whether a dynamic scene is depicted on it, or some other one. It is a successful composition that makes us stop our attention on the picture and hold it long enough.

It is easy to create dynamic landscapes, the plots of which are associated with the image of the sea. They perfectly combine all the elements inherent in a dynamic picture, namely:

• descending and ascending lines;
• A well-designed perspective;
• Visually attractive objects of the first plan.
• An interesting and spectacular arrangement of the horizon line, as well as a memorable landscape background.
• Bright color and light solution of the picture;
• A harmonious combination of colors that define the main color scheme and vignetting.
• Movement visualization.

Most often, the photographer rarely manages to achieve a combination of all these elements in one work. In real life, the qualities inherent in dynamism are encountered all the time. In any photograph that depicts a natural landscape, you will definitely find at least one component. And if there are several, then this can be considered luck. The success of the author of the work.

We do not aim to give clear instructions for creating good photographs. After all, photography is one of the art forms, and in art, as you know, everything rests on trifles. To notice these little things and, thanks to them, to create works of photographic art, God's gift is needed, creativity the author to create pictures, and of course - labor, labor and once again labor, ensuring the gradual accumulation of the most valuable practical experience. Therefore, the recommendations given by us on creating high-quality dynamic shots can only help you determine the path that you yourself must follow to the heights of honing your unique handwriting, technique and skill.

Now I would like to dwell in more detail on each of the elements that contribute to the creation of a dynamic landscape shot.

Ascending and descending lines in a dynamic landscape

The first thing that helps to attract the viewer's attention to the photograph is the use of converging, ascending and descending lines in the photograph.

Converging lines have long been used by artists in painting and graphics to create a sense of the depth of space (this is called linear perspective) in a two-dimensional image.

Therefore, masters of photography often use scenes depicting piers, rivers, roads. Despite some stereotypes in the image of these objects, you need to be able to correctly use the technique of placing these objects in the composition of the picture when depicting a landscape. So it should be remembered that ascending lines help to keep the viewer's attention on the photo, drawing special attention to it.

For example, a photo of a jetty includes both descending and ascending lines. Pay attention to how clear and straight lines of the pier rush into the sky, and at the same time the lines of clouds are directed down. We can observe how all the lines in such an image converge on the horizon line, due to which the vanishing point of these lines becomes the object of our close attention. Here we can recommend shooting man-made lines in order to learn how to look for thinner lines in nature. Yes, indeed the marina is compositional center the whole picture, as well as the source of the main lines, however, you can observe here a number of other lines formed with the help of water, hills, clouds. So in the reflection of the water, we see dark lines that help direct our gaze to the central part of the photo.

What are photographers paid for? For his fresh look at reality, for his ability to reveal to us what we ourselves cannot see in real life and, moreover, do not have enough time for this. That is why the photographer must show the world in an extraordinary light. In order to achieve this goal, try to find the necessary angle for shooting. So photographs taken in conditions where during shooting you are lying on the ground, in mud or in snow, are usually more dynamic. This is especially evident when shooting with an ultra-wide-angle lens, thanks to which we notice even the smallest guide lines in the photo. When shooting the same object from eye level, these lines will no longer be visible.

Interesting pictures are obtained when shooting from the top point. If you climb a tree, or stand on the shoulders of a friend, you will get the opportunity to find an interesting perspective. Particularly gorgeous, as a rule, photographs taken in this way using a telephoto lens.

Foreground

It is good to place significant, strong elements of the composition in the foreground of dynamic shots. They will complement the perception of the entire picture. Take, for example, a photo that shows a sunset or sunrise. Usually in nature this moment is very beautiful - pink or even red clouds penetrating their direct sunlight. All this is quite beautifully obtained in the photographs. But, you see, the viewer will not be attracted by the image, so to speak, of “a sunset in pure form- that is, only the clouds in the sky. There is something else that needs to be included in the composition.

Dynamic photography needs an interesting foreground. This task is important and sometimes quite difficult for a photographer. The foreground element completes the composition. That's why you need to find something that would fill the foreground of your shot. If this object is correctly selected and introduced into the plane of the frame, then the dynamism of the picture will increase significantly, and you will take another step towards success.

Relationship between foreground and background elements

In cinema there are roles of the first plan and the second plan. In the film, the whole plot is based on the relationship of the main characters of the picture. But if the main characters were not set off by the characters of the second plan, then the images created by them would not be so bright and expressive. So are the elements of composition in a dynamic landscape. Elements of the foreground and background mutually influence each other, interact with each other. For example, if there is a sunset in the mountains in the background of the landscape, then in the foreground it will look good either the glare of the sun playing on the stream of a mountain river, or the collapse of beautiful stones.

Color spectrum

An important role in creating a beautiful and compositionally harmonious frame is undoubtedly played by the color scheme. Any natural colors look natural in natural light. If you really want to make the colors very bright, then you need to be able to balance them correctly. And in the case when the right balance bright colors cannot be achieved, it is better to simply exclude such a color from the frame. Some novice photographers often deliberately introduce various bright spots of light or color into the picture. But this creates excessive variegation and does not always look good. That is why in the dynamic composition of the frame there must be the correct color balance. A a large number Shades are best avoided.

Vignetting

Vignetting can be called vision blockage. In vignetted shots, the first thing the viewer notices is the main element in the composition of the shot. Concentration of attention in this case is well helped by the dark edges of the picture. If you look at such photos, you will notice this visual accent effect. Vignetting can be done different ways. For example, using a special filter or processing in graphic editors. This allows you to do many, even simple programs. For example, framed by the dark edges of a vignetted frame, a lone white cloud in a soft blue sky looks good.

Transfer of motion

Movement is not always required element dynamic landscape. But sometimes highly desirable. Movement can be conveyed by blurring any object, composition element. Blurring is achieved by applying slow shutter speeds. If you remove the flow of water in the aperture priority mode, then the water will turn out to be frozen, as it were, stopped in time. For example, if you photograph at a slow shutter speed some huge boulder that lies in a turbulent stream of a shallow mountain river, then this static dark object in the center of the picture will actively focus on the still water. And this will give the picture additional dynamics. A wide range of colors will work well here - water, stone, sky, vegetation on the banks of the river ... The texture of the surface of the stone will make it a dominant feature in this composition. You can also apply some vignetting here.

Black and white dynamic landscape

Can a dynamic landscape be monochrome, black and white? Why not? Of course it can. Classics of photography have a lot of such pictures. Black and white photography perfectly conveys contrast, favorably emphasizes movement and dynamics. But the lack of color in photography needs to be learned to compensate for something. To do this, we will have to work a little more seriously on other expressive means of a dynamic landscape. About these expressive means we have already spoken today. And with black and white flowers and their shades, you need to learn how to convey the texture and texture of the objects being shot. In such pictures, the main element of the composition is of great importance.

black and white dynamic landscapes many have been created. All of them are filled with movement. It is enough to look at various photo sites, and you will see them. Look for great shots of Hengki Koentjoro or Mitch Dobrowner, for example. The works of these authors are simply mesmerizing. They are worth learning from.

Can non-dynamic landscapes be attractive?

Of course they can! You can get the best shots of nature and landscapes in general, even if you do not follow any of our today's recommendations. Dynamics in photographic landscape- this is just one of the many ways of conveying the state of nature, environment. Static, calm photos are also very beautiful and harmonious. Since photography is fundamentally limited by its two-dimensionality, the static effect is achieved here by applying completely different rules. In this case, completely different laws work than in the transmission of dynamics. But - statics in the landscape - this is a topic for a separate discussion, for a separate article.

Based on materials from the site: