會(huì)攝影先學(xué)構(gòu)圖，構(gòu)圖除了需要我們勤于動(dòng)手，思維也是不能少的哈。

　　歡迎來(lái)到攝影構(gòu)圖的奇妙世界!在最一般的術(shù)語(yǔ)中，攝影構(gòu)圖是通過(guò)畫(huà)面布置來(lái)構(gòu)圖的藝術(shù)。幾乎每個(gè)人都知道的一件構(gòu)圖對(duì)照片的成功至關(guān)重要，因?yàn)闃?gòu)圖是一門(mén)完全主觀的藝術(shù)，是每個(gè)人都認(rèn)為應(yīng)該打破的規(guī)則不經(jīng)意間完成的。

　　我無(wú)法回答這個(gè)問(wèn)題，但請(qǐng)?jiān)试S我分享一些關(guān)于這個(gè)商品的曲折想法，而不是像其他人一樣，給你一個(gè)刻板的文字概述。

　　一、攝影構(gòu)圖的10種重要思維

　　1.非空白畫(huà)布構(gòu)圖思維

　　其他視覺(jué)藝術(shù)從空白的“畫(huà)布”開(kāi)始。在攝影中，畫(huà)布是先存在的;構(gòu)圖和整理素材是我們的工作。其他視覺(jué)藝術(shù)(繪畫(huà)、繪畫(huà)、平面設(shè)計(jì)和雕塑)、表演藝術(shù)(舞蹈、表演、音樂(lè))和書(shū)面藝術(shù)(散文和詩(shī)歌)都或多或少地讓藝術(shù)家從一塊空白的石板或畫(huà)布開(kāi)始。樂(lè)譜上沒(méi)有音符，拉伸的畫(huà)布上沒(méi)有標(biāo)記，頁(yè)面上也沒(méi)有單詞。藝術(shù)家故意而有條不紊地添加了這些素材。

　　在攝影中，只有在攝影棚中才能開(kāi)始使用空白畫(huà)布，在那里可以控制幀中的內(nèi)容、照明和商品本身。否則，在攝影工作室之外，已經(jīng)拍攝了“畫(huà)布”。這就是你面前的一切。攝影師的工作是選擇從畫(huà)布中刪除或添加的內(nèi)容。

　　2.給產(chǎn)品的定位思維

　　你如何改變眼前的一切?有時(shí)候你可以在場(chǎng)景中移動(dòng)一些東西，但這并不總是一個(gè)選擇。所以，你還有兩種可能：通過(guò)構(gòu)圖或移動(dòng)你自己或你的攝影機(jī)來(lái)調(diào)整構(gòu)圖。如果有縮放鏡頭，可以放大以隔離場(chǎng)景的一部分，也可以縮小以添加到場(chǎng)景中。如果你有一個(gè)固定焦距的鏡頭，你需要把你的身體移到另一個(gè)位置(如果這樣做可行且安全的話)來(lái)重新配置圖片。

　　3.潛意識(shí)中的自然功能構(gòu)圖思維

　　對(duì)我來(lái)說(shuō)，構(gòu)圖功能很像天生的運(yùn)動(dòng)功能。游戲或運(yùn)動(dòng)的規(guī)則是可以教的，但在某種程度上，人必須具備進(jìn)行這項(xiàng)運(yùn)動(dòng)的體能和無(wú)形的才能。然而，熟練程度可以通過(guò)經(jīng)驗(yàn)、培訓(xùn)和實(shí)踐獲得，技能通?？梢蕴岣?。很少有運(yùn)動(dòng)員能在比賽最激烈的時(shí)候參加某項(xiàng)運(yùn)動(dòng)。他們從獨(dú)特的功能開(kāi)始，然后通過(guò)學(xué)習(xí)、培訓(xùn)和經(jīng)驗(yàn)來(lái)發(fā)展。這是一場(chǎng)由來(lái)已久的“天性與后天培養(yǎng)”的辯論，它也可以很容易地應(yīng)用到藝術(shù)中。在攝影中，有些人具有“構(gòu)圖眼光”，有些人沒(méi)有這種“眼光”。

　　有時(shí)，你的潛意識(shí)會(huì)在取景器中看到一幅讓你大腦愉悅的圖片。您按下快門(mén)，攝像機(jī)就會(huì)捕捉圖片。稍后再看，你可以看到這篇圖片寫(xiě)得很好，你的大腦無(wú)意識(shí)地記錄下來(lái)了。如果這發(fā)生在你身上，恭喜你!你有天賦!(或者，你很幸運(yùn)!)

　　很多人會(huì)嫉妒你的天賦。但不要依賴你天生的功能。我鼓勵(lì)你學(xué)習(xí)藝術(shù)，因?yàn)橹R(shí)和對(duì)構(gòu)圖的持續(xù)研究可以幫助你更好地理解你的見(jiàn)解。這些知識(shí)可以用來(lái)完善你天生的技能，幫助你朝著更好的方向前進(jìn)。

　　如果你沒(méi)有“天賦”，仍然有希望。不要放棄!這其中很多是可以學(xué)習(xí)的。即使你在不知不覺(jué)中難以看到，良好構(gòu)圖的意識(shí)也可以應(yīng)用到你的圖片中。為了改變殘酷的事實(shí)，就像有些人無(wú)論嘗試多少次都無(wú)法在外場(chǎng)接住飛球一樣，藝術(shù)有時(shí)對(duì)一些攝影師來(lái)說(shuō)是難以捉摸的。但是，藝術(shù)的神奇之處在于：如果你喜歡你創(chuàng)造的藝術(shù)，那么無(wú)論你如何構(gòu)思，都不應(yīng)該有人把它從你身上拿走。

　　4.強(qiáng)制拍照

　　再看一下我們外野手的類比，對(duì)某些事情進(jìn)行深入研究可能會(huì)產(chǎn)生不良影響。如果外場(chǎng)手試圖根據(jù)溫度和相對(duì)濕度計(jì)算球場(chǎng)速度、球拍擺動(dòng)速度、球和球拍的減震、所涉及的角度、行星的重力加速度、飛行中球的摩擦系數(shù)以及球沿規(guī)定弧線的加速度和減速度，他或她很可能無(wú)法接球。外野手的大腦進(jìn)行這些計(jì)算

　　在攝影中，觀看和拍攝構(gòu)圖的照片可能不需要有意識(shí)的思考或數(shù)學(xué)。此外，有時(shí)過(guò)度去構(gòu)圖的圖片可能是你最大的敵人。你的天賦和大腦可能已經(jīng)知道成功的構(gòu)圖。你的工作是讓攝像機(jī)中的圖片與你看到的相匹配。對(duì)場(chǎng)景的過(guò)度分析很容易使攝影師無(wú)法為圖片選擇好的構(gòu)圖。有時(shí)，你大腦中的知識(shí)可能會(huì)推翻天賦看到和喜歡的東西。這是心靈與眼鏡之間的斗爭(zhēng)。你不能強(qiáng)迫好的構(gòu)圖發(fā)生，你只能創(chuàng)造它。

　　作為一名攝影師，你會(huì)發(fā)現(xiàn)在某些場(chǎng)景中，你的天賦看到了它認(rèn)為你應(yīng)該拍攝的東西，但無(wú)論你怎么努力(開(kāi)動(dòng)腦筋或關(guān)上腦筋)，你都無(wú)法通過(guò)構(gòu)圖將場(chǎng)景變成一張好照片。當(dāng)我面對(duì)這種情況時(shí)，我要么拍張照片證明我在那里，要么試著記住我想要捕捉的東西，走開(kāi)，然后在余生哀嘆我無(wú)法捕捉到它。

　　不是每一個(gè)飛球都能被抓住，不管你有多好。

　　5.組成和意義的構(gòu)圖思維

　　加分也可以是無(wú)形的。有時(shí)一篇圖片行得通，但你無(wú)法解釋它為什么行得通。大腦只喜歡它在圖片整體框架中看到的東西。相反，有時(shí)你可以指出一篇成功的圖片，并確切地知道它為什么有效。相反，如果你發(fā)現(xiàn)自己站在某人旁邊，當(dāng)你看著一張照片時(shí)，你會(huì)說(shuō)：“這就是照片的意義，這就是為什么照片構(gòu)圖很好的原因”，那么你很可能在實(shí)現(xiàn)良好構(gòu)圖，和拍攝受眾喜歡圖片的斗爭(zhēng)中失敗了。

　　6.關(guān)注商品本身的特點(diǎn)去構(gòu)圖

　　圖片應(yīng)該有助于識(shí)別、強(qiáng)調(diào)、補(bǔ)充、突出商品，而不是偏離商品。拍攝對(duì)象很可能是您拍攝特定圖片的原因，因此，如果構(gòu)圖將觀眾的注意力吸引到畫(huà)面的其他部分，那么您就分散了觀眾對(duì)照片主要目的的注意力。當(dāng)涉及到如何圍繞拍攝對(duì)象構(gòu)圖時(shí)，你會(huì)希望構(gòu)圖能夠起作用。有時(shí)是隱蔽的，以確保觀眾知道拍攝對(duì)象是什么，以及照片的目的是什么。

　　7.天賦的旅程

　　構(gòu)圖是：排列、創(chuàng)作、觀看、構(gòu)圖和裁剪。它必須引導(dǎo)觀眾。觀眾的天賦會(huì)穿過(guò)照片的框架。路線并不總是可以預(yù)測(cè)的，但是你如何在照片中安排道具，或者如何構(gòu)圖場(chǎng)景，可以作為天賦通過(guò)你的圖片進(jìn)行愉快旅行的指南，這一旅行可以讓觀眾理解照片的意義。

　　8.使用基本素材構(gòu)圖思維

　　構(gòu)圖素材包括：圖案、紋理、對(duì)稱、不對(duì)稱、景深、線條、曲線、框架、對(duì)比度、顏色、視點(diǎn)、深度、負(fù)空間、填充空間、前景、背景、視覺(jué)張力、形狀。使用這些素材中的一個(gè)或多個(gè)來(lái)拍攝適合您的圖片的構(gòu)圖。當(dāng)然，不是所有的東西都可以隨時(shí)使用，但要研究它們，識(shí)別它們，并利用它們來(lái)豐富你的圖片。

　　9.掌握構(gòu)圖的三個(gè)基本要素

　　我覺(jué)得一個(gè)好的攝影師有三個(gè)基本要素：攝影知識(shí)、構(gòu)圖眼光和藝術(shù)視野。

　　今天的攝像機(jī)擁有如此驚人的技能，它們可以做任何事情，也可以為你拍出好的照片。“但是仍然需要我們?nèi)?gòu)圖。構(gòu)圖是攝影的一個(gè)方面，它100%依賴于你作為攝影師的努力。這是攝影的一部分，攝像機(jī)無(wú)法單獨(dú)完成。

　　因此，好的構(gòu)圖并不是僅僅靠昂貴的攝影攝影器材就能實(shí)現(xiàn)的。同樣的道理，你可能擁有這個(gè)世界上最敏銳的天賦，但如果沒(méi)有有效使用攝像機(jī)的功能，你可能就不能拍攝你在腦海中感知到的照片。攝影是一種以技能為基礎(chǔ)的藝術(shù)形式。即使是世界上最好的構(gòu)圖也可能因?yàn)閳D片失焦、曝光過(guò)度或曝光不足，或是某些攝像機(jī)設(shè)置選擇不當(dāng)而遭到破壞!

　　而且，另一方面，攝影師可以用缺乏的構(gòu)圖制作出高質(zhì)的圖片。

　　10.利用構(gòu)圖規(guī)則

　　到目前為止，我還沒(méi)有使用“規(guī)則”這個(gè)詞來(lái)討論構(gòu)圖。但是，如果沒(méi)有對(duì)“構(gòu)圖規(guī)則”的承認(rèn)，對(duì)構(gòu)圖的討論是不完整的。所以，在你深入了解攝影構(gòu)圖系列介紹之后的內(nèi)容之前，要知道，在構(gòu)圖方面，沒(méi)有對(duì)錯(cuò)之分。沒(méi)有硬性規(guī)定。對(duì)于每一條規(guī)則，都有無(wú)數(shù)違反規(guī)則的圖片。構(gòu)圖的成功取決于構(gòu)圖是否補(bǔ)充而不是減損給定的圖片，而不管你是否遵循、回避、忽略或打破規(guī)則。你應(yīng)該知道，你可以按照構(gòu)圖規(guī)則畫(huà)一個(gè)T，但仍然可以創(chuàng)造出一張缺少的照片。要拍出一幅出色的圖片，需要的不僅僅是好的構(gòu)圖。

　　無(wú)論商品是什么，構(gòu)圖都可以塑造好的圖片或破壞圖片。

　　總結(jié)

　　好照片沒(méi)有構(gòu)圖規(guī)則，只有好照片。

　　埃米爾·佐拉曾說(shuō)：“沒(méi)有天賦，藝術(shù)家什么都不是，但沒(méi)有工作，天賦什么都不是?！?/p>

　　“現(xiàn)在，在拍照之前參考構(gòu)圖規(guī)則有點(diǎn)像在散步之前參考萬(wàn)有引力定律。這些規(guī)則和定律是從既成事實(shí)推導(dǎo)出來(lái)的;它們是反射的產(chǎn)物。”——愛(ài)德華·韋斯頓

　　“規(guī)則是愚蠢的、武斷的、愚蠢的東西，會(huì)很快把你提升到可以接受的平庸水平，然后阻止你進(jìn)一步進(jìn)步?！薄剪斔埂ぐ投黪U姆(Bruce Barnbaum)，《攝影藝術(shù)》(the Art of Photography)一書(shū)

　　“你的天賦必須看到生活本身為你提供的構(gòu)圖或表情，你必須憑直覺(jué)知道何時(shí)點(diǎn)擊攝像機(jī)?！?亨利·卡特·布列松

　　“攝影沒(méi)有規(guī)則，它不是一項(xiàng)運(yùn)動(dòng)。重要的是結(jié)果，無(wú)論它是如何實(shí)現(xiàn)的?！薄葼枴げm特

　　“當(dāng)商品被迫符合預(yù)先設(shè)想的模式時(shí)，就不可能有新鮮的視覺(jué)。遵循構(gòu)圖規(guī)則只會(huì)導(dǎo)致單調(diào)乏味的重復(fù)圖片陳詞濫調(diào)?！薄獝?ài)德華·韋斯頓

　　“一張好照片就是知道站在哪里?！薄踩麪枴啴?dāng)斯

　　英文翻譯：

　　11 Thoughts: An Introduction to Photographic Composition

　　Composition noun com·po·si·tion ?k?m-p?-?zi-sh?n : the way in which something is put together or arranged : the combination of parts or elements that make up something

　　Welcome to the wonderful world of photographic composition! In its most general terms, photographic composition is the art of composing an image through framing. And there exists the problem. How is it that one thing that almost everyone agrees is critical to the success of a photograph is completely subjective—an art unto itself—and is sculpted by rules that everyone agrees should and can be broken regularly, with great success?

　　There is no way I can answer that question, but instead of giving you the same old, predictable introduction to composition as others, permit me to share some meandering thoughts about the subject.

　　1. The Non-Blank Canvas

　　Other visual arts start with a blank “canvas”… in photography, the canvas is preexisting; it is our job to frame and eliminate elements. The other visual arts (painting, drawing, graphic design, and sculpture), the performing arts (dance, acting, music), and the written arts (prose and poetry), all allow artists to start, more or less, with a blank slate or canvas. There are no notes on the sheet music, there are no marks on the stretched canvas, and there are no words on the page. The artist adds them deliberately and methodically.

　　In photography, the only time you start with a blank canvas is in the studio, where you can control what is in the frame, the lighting, and the subject matter itself. Otherwise, outside the studio, the “canvas” has already been created. It is what is in front of you. It is the photographer’s job to choose what is eliminated from the canvas or added to it.

　　2. Positioning

　　How do you change what is already in front of you? Well, sometimes you can literally move something in a scene, but that is not always an option. So, you are left with two other possibilities: adjusting your composition through framing or by moving yourself or your gear. If you have a zoom lens, you can zoom in to isolate a portion of a scene, or zoom out to add to the scene. If you have a fixed focal-length lens, you will need to move your body to another position (if it’s feasible and safe to do so) to reconfigure the image.

　　Photographs ? Todd Vorenkamp

　　3. Natural Abilities

　　To me, compositional ability is a lot like natural athletic ability. The rules of a game or sport can be taught, but, at some level, the person has to have the physical ability and intangible talent to perform that sport. However, proficiency can be gained by experience, training, and practice and skills can often be improved. Very few athletes enter a sport at the top of their game. They start with a unique ability and then develop it through study, training, and experience. This is the age-old “nature versus nurture” debate and it can easily be applied to the arts, as well. In photography, there are those with an “eye for composition” and there are those who do not have that “eye.”

　　Sometimes, your subconscious sees an image in the viewfinder that looks pleasing to your brain. You release the shutter and the camera captures an image. Looking at it later, you can see that the composition worked well and your brain registered it unconsciously. If this happens to you, congratulations! You have a gift! You have the “eye.” (Or, you just got lucky!)

　　Many will be jealous of your gift. But do not rest on your natural abilities. I encourage you to study the art because the knowledge and ongoing study of composition can help you to better understand your unique vision. This knowledge can be used to refine your natural-born skills and help drive you toward even better images.

　　If you do not have that “eye,” there is still hope. Do not give up! Much of this can be learned. Consciousness of good composition can be applied to your images even if you struggle to see it unconsciously. In the interest of being brutally honest, just as there are those who cannot catch a fly ball in the outfield no matter how many times they try, art is, at times, elusive to some photographers. But, here is the magical thing about art: if you love the art you create, no one should be able to take that away from you—no matter how you frame it.

　　4. Forcing a Photograph

　　Revisiting the analogy of our intrepid outfielder, applying intensive study of something may have undesirable effects. If the outfielder tries to calculate the speed of the pitch, the speed of the bat swing, the shock absorption of the ball and bat based on temperature and relative humidity, the angles involved, the gravitational acceleration of the planet, the friction coefficient of the ball in flight, and the acceleration and deceleration of the ball along a prescribed arc, chances are he or she will not be in position to make a catch. The outfielder’s brain does these calculations instantaneously, without mathematics and the glove and ball magically intersect.

　　In photography, seeing and capturing a well-composed photograph can happen without conscious thought or mathematics. Additionally, sometimes over-thinking composition can be your worst enemy. Your eye and brain might already know successful composition. Your job is to get the image in the camera to match what you see. Over-analysis of the scene may easily preclude the photographer from choosing a good composition for the image. Sometimes the knowledge in your brain might overrule what the eye sees and likes. This is the battle between the mind and the mind’s eye. You cannot force good composition to happen, you can only create it.

　　As a photographer, you will find that there are scenarios where your mind’s eye sees something it thinks you should photograph, but no matter how hard you try (brain on or brain off), you cannot make that scene into a good photograph through composition. When I am faced with this scenario, I either take a photo to prove that I was there, or try to remember what I wanted to capture, walk away, and then bemoan the fact for the rest of my life that I couldn’t capture it.

　　Not every fly ball can be caught, no matter how good you are.

　　5. Composition and Meaning

　　Composition can also be intangible. Sometimes a composition works, but you cannot explain why it works. The mind just likes what it sees in the overall framing of an image. On the contrary, there are times where you can point to a successful composition and know exactly why it works. Conversely, if you ever find yourself standing next to someone and, while looking at one of your photographs you say, “This is what the photograph is about and this is why the photograph has great composition,” you’ve likely lost the battle to achieve good composition and create an image that works for your audience.

　　6. Focus on the Subject

　　Composition should help identify, emphasize, complement, isolate, or highlight the subject—not detract from it. The subject is likely the reason you captured a particular image, so if the composition works to bring the viewer’s attention to other parts of the frame, then you have successfully distracted the viewer from the primary purpose of the photograph. When it comes to how you frame the image around your subject, you will want the composition to work, sometimes covertly, to ensure that the audience knows what the subject is, and what the purpose of the photograph is.

　　7. The Eye’s Journey

　　Composition is: arranging, creating, seeing, framing, and cropping. It must guide the viewer. The eye of the viewer will make its way through the frame of the photograph. The path is not always predicable, but how you arrange objects in the photograph, or how you frame the scene, can serve as a guide for the eye’s (hopefully) pleasing journey through your image—a journey that allows the viewer to understand the meaning of your photograph.

　　8. Elemental Concerns

　　Elements of composition are: patterns, texture, symmetry, asymmetry, depth of field, lines, curves, frames, contrast, color, viewpoint, depth, negative space, filled space, foreground, background, visual tension, shapes. Use one or more of these elements to create a composition that works for your image. Of course, not all will be available at all times, but study them, recognize them, and employ them to help enrich your images.

　　9. You Create Composition

　　I feel that there are three basic ingredients to a good photographer: knowledge of camera, an eye for composition, and artistic vision.

　　Today’s cameras have such amazing technology that they can do everything but make a great photograph for you. That “but” refers to composition. Composition is the aspect of the medium that is 100% dependent on your efforts as the photographer. It is the one part of photography that the camera cannot do on its own. Therefore, good composition is not something that can be achieved by expensive photography gear alone. Along the same lines, you may have the most astute eye on the planet, but, without the aptitude to effectively use your camera, you may lack the ability to make the photograph that you perceive in your mind’s eye. Photography is a technically based art form. Even the world’s best composition can be ruined because the image is out of focus, badly over- or underexposed, or the victim of some poorly chosen camera settings!

　　And, on the flip side of that coin, a photographer can make a technically perfect image with a composition that is sorely lacking.

　　10. Rules. If You Must.

　　I made it this far into a discussion about composition without using the word “rules.” But, no discussion of composition is complete without, at least, an acknowledgement of the “Rules of Composition.” So, fair warning, before you dig into the content following this introduction to the B&H Photo Composition Series, know that, when it comes to composition, there is no right or wrong. There are no hard-and-fast rules. For every rule, there are countless images that break the rule. Success in composition is defined by whether the composition complements, instead of detracts from, a given image regardless of whether you follow, skirt, ignore, or break the rules. You should know that you could follow the rules of composition to a T and still create a photograph that is lacking. It takes more than good composition to make a remarkable image.

　　11. The Scale Tipper

　　Regardless of the subject matter, composition can make or break an image.

　　Postscript

　　I will leave you with a few thoughts on composition from some of the world’s greatest artists, photographers, writers, and me.

　　“The artist is nothing without the gift, but the gift is nothing without work.” —émile Zola

　　“Now to consult the rules of composition before making a picture is a little like consulting the law of gravitation before going for a walk. Such rules and laws are deduced from the accomplished fact; they are the products of reflection.”—Edward Weston

　　“Rules are foolish, arbitrary, mindless things that raise you quickly to a level of acceptable mediocrity, then prevent you from progressing further.” —Bruce Barnbaum, from the book, The Art of Photography

　　“There are no rules for good photographs, only good photographs.” —Ansel Adams

　　“Your eye must see a composition or an expression that life itself offers you, and you must know with intuition when to click the camera.” —Henri Carter-Bresson

　　“Photography has no rules, it is not a sport. It is the result which counts, no matter how it is achieved.” —Bill Brandt

　　“When subject matter is forced to fit into preconceived patterns, there can be no freshness of vision. Following rules of composition can only lead to a tedious repetition of pictorial clichés.” —Edward Weston

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