{"slug":"analyze-photographer-style","title":"如何分析和模仿一位摄影师的前后期风格","author":"Thomas看看世界","date":"2018-04-29","wechat":"https://mp.weixin.qq.com/s?__biz=MzI4NDA5MzE5NQ==&mid=2247486764&idx=1&sn=f5cd9d9eee33ab4614e4d1163189b331&chksm=eb81f348dcf67a5e362149b37a5fcd8fc36663b95f203facaf4490668b0f551e0088dac616e1&scene=21#wechat_redirect","blocks":[{"t":"h","x":"Thomas看看世界","xe":"Thomas Chu Photo"},{"t":"p","x":"每周一篇干货，让摄影不再难学","b":false,"xe":"One in-depth tutorial every week — making photography easier to learn"},{"t":"p","x":"本文将以2018年哈苏大师赛风光冠军Benjamin Everett的作品为例，和大家分享如何系统性的去分析、学习一个摄影师的照片风格，并将其融入自己的拍摄和后期过程中。","b":false,"xe":"Using the work of Benjamin Everett — 2018 Hasselblad Masters landscape winner — as an example, this article shows how to systematically analyze and learn from a photographer's style, and weave it into your own shooting and post-processing."},{"t":"h","x":"干货较长，阅读需20分钟，建议先分享+收藏。","xe":"This is a long read (about 20 minutes) — consider sharing and saving it first."},{"t":"img","f":"img-03","w":476,"h":593},{"t":"h","x":"1","xe":"1"},{"t":"h","x":"内容分析/感受体验","xe":"Content Analysis / Felt Experience"},{"t":"p","x":"对于一名成熟的摄影师，我们分析他作品的时候一定不要从色彩、构图、技术等等浅层表象上开始看，而首先要从摄影师的内容表达上着手（甚至先了解他的经历、流派、观念等等），从自身的感受和体会出发，才能统领全局、深入理解。","b":false,"xe":"When analyzing a mature photographer, never start from surface traits like color, composition or technique. Start from what they are expressing — ideally their background, school of thought and worldview — and from your own felt response. Only then can you grasp the whole picture."},{"t":"p","x":"我在《风光摄影后期基础》中提到过，摄影作品分为四个层面：器材、技术、形式、内容。","b":false,"xe":"In my book Foundations of Landscape Photography Post-Processing, I wrote that a photograph has four layers: gear, technique, form, and content."},{"t":"h","x":"其中“器材服务于技术，技术服务于形式，形式服务于内容，而不是本末倒置”。","xe":"Gear serves technique, technique serves form, and form serves content — never the other way around."},{"t":"p","x":"我们只有理解了摄影师的内容是什么，想表达什么，才能真正明白他为什么要这样调色？为什么要那么构图？为什么要用某一类型的器材和技术？","b":false,"xe":"Only when you understand what a photographer's content is — what they want to express — can you truly see why they grade colors this way, compose that way, or choose a certain type of gear and technique."},{"t":"p","x":"那么什么是图片的内容呢？","b":false,"xe":"So what is the 'content' of an image?"},{"t":"p","x":"内容就是图片记录了什么场景，描述了什么故事，传达了什么样的情绪、氛围、情感，表达了艺术家的什么想法、思考和世界观。","b":true,"xe":"Content is the scene an image records, the story it tells, the mood, atmosphere and emotion it conveys, and the ideas, reflections and worldview the artist expresses."},{"t":"p","x":"我们来大致的看一下Benjamin Everett的作品主页：https://www.bejamin.gallery 。不用一张一张的仔细观看，大致的感受一下即可。","b":false,"xe":"Let's take a quick look at Benjamin Everett's portfolio: https://www.bejamin.gallery — no need to study each image closely, just get an overall feel."},{"t":"img","f":"img-04","w":1080,"h":1058},{"t":"p","x":"Benjamin的摄影作品与数码合成作品，全部展现的是自然景观。内容以山水为主，很多照片融入了动物和人。观看他的作品，我会有一种自然飘逸、宁静致远的感受，好像有一种“天人合一”的境界。","b":false,"xe":"Benjamin's photographic and digitally composited works all depict natural scenery — mostly landscapes, often with animals or people woven in. Viewing his work gives me a sense of natural grace and far-reaching tranquility, almost a state of 'unity between man and nature.'"},{"t":"p","x":"虽然他的作品用的是当代西方的表现手法，后期数码设计的技术，但观看他作品集的时候，我却更多感受到一种古代中国的意境。","b":false,"xe":"Although he uses contemporary Western techniques and digital post-production design, what I feel most when browsing his portfolio is an ancient Chinese artistic conception."},{"t":"p","x":"如果在它的主页里插入一张Max Rive和我的作品，或者是一张城市夜景风光，那一定会非常的突兀。","b":false,"xe":"If you slipped a Max Rive image or one of mine — or a city nightscape — into his portfolio, it would feel jarringly out of place."},{"t":"p","x":"但如果你在它的作品集里面插入几张水墨画，或画的一位道长游逸与云雾之间，或画的一个和尚禅坐与竹林之中。你会觉得非常的和谐，虽然水墨画和Benjamin的作品在类型、时代、技术和表达手法上简直是天壤之别，但他们的精神内核是一样的，“形”异却“神”似。","b":false,"xe":"But insert a few ink-wash paintings — a Taoist sage wandering among the clouds, or a monk meditating in a bamboo grove — and it feels perfectly harmonious. Ink painting and Benjamin's work differ enormously in medium, era, technique and expression, yet their spiritual core is the same: different in 'form,' alike in 'spirit.'"},{"t":"p","x":"我们再阅读一下艺术家自述，也就是它网站上的“About”页面：","b":false,"xe":"Now let's read the artist's own statement — the 'About' page on his website:"},{"t":"img","f":"img-05","w":758,"h":669},{"t":"p","x":"“A keen interest in eastern Philosophy”，作者自己也说“我对东方哲学兴趣深厚”。作者自己是这么想的，作品也是利用各种视觉语言这么表达的，我们（特别是作为中国人）也能很容易的感受到。","b":false,"xe":"'A keen interest in eastern Philosophy' — his own words. He thinks this way, expresses it through visual language, and we (especially as Chinese viewers) can feel it readily."},{"t":"p","x":"只有理解了这个层面，你才能真正学习分析他的作品，为什么以单色/二元配色为主？为什么要减淡饱和度？为什么偏好中长焦镜头？为什么要在画面中选取这些元素？","b":false,"xe":"Only after understanding this layer can you truly analyze his work: why the monochrome/duotone palettes? Why the reduced saturation? Why the preference for medium-to-long focal lengths? Why these elements in the frame?"},{"t":"p","x":"古人云“物先大体”、“殊途同归”、“万变不离其宗”，理解了“道”，你才能理解作者的“术”，读懂作者风格中的视觉语言。","b":true,"xe":"As the ancients said: 'see the whole before the parts,' 'all roads lead to the same end,' 'a thousand changes never depart from the core.' Understand the 'Tao,' and you can understand the artist's 'techniques' — the visual language of his style."},{"t":"p","x":"举个简单的例子，同样是“自然环境中的人”这种视觉表现手法，你会发现Benjamin的作品和我的作品带给你的感受是有区别的。","b":false,"xe":"A simple example: take the shared motif of 'a person in nature.' You'll notice Benjamin's work and mine feel quite different."},{"t":"p","x":"Benjamin作品：","b":false,"xe":"Benjamin's work:"},{"t":"img","f":"img-06","w":395,"h":593},{"t":"img","f":"img-07","w":437,"h":592},{"t":"img","f":"img-08","w":475,"h":593},{"t":"p","x":"Thomas看看世界作品：","b":false,"xe":"Thomas Chu Photo's work:"},{"t":"img","f":"img-09","w":1080,"h":605},{"t":"img","f":"img-10","w":850,"h":1153},{"t":"img","f":"img-11","w":1080,"h":582},{"t":"p","x":"同样是画中人，我们表达的东西却是有一定区别的。","b":false,"xe":"Both are figures in a landscape, yet what we express differs."},{"t":"p","x":"我作为中国人，但是多年留学和旅行，深受登山、探险文化的影响，所以我画面中的人大多是来自画面世界之外的人，是一名“探险家”，从另一个地方来到画面中的世界，去“见证”宏伟壮观的自然景观。","b":false,"xe":"I'm Chinese, but years of studying abroad and traveling steeped me in mountaineering and expedition culture. So the people in my frames are usually outsiders — 'explorers' arriving from elsewhere to 'witness' the grandeur of nature."},{"t":"img","f":"img-12","w":1080,"h":446},{"t":"p","x":"Benjamin作为西方人，却深受东方哲学熏陶，所以他很多画面中的人走进了画面，甚至居住在画面中，人已经融入了画面，与风景交织在了一起，形成了“天人合一”的感受。","b":false,"xe":"Benjamin, a Westerner, is deeply influenced by Eastern philosophy. The people in his frames walk into the scene, even dwell in it — they merge with the landscape, becoming the 'unity of man and nature.'"},{"t":"img","f":"img-13","w":475,"h":592},{"t":"p","x":"看懂了我们在思想哲学和表达内容上的差别，你不仅能理解我们“画中人”的不同，也能理解为什么我喜欢用广角镜头甚至全景拼接，而Benjamin擅长中长焦场景？为什么我的调色偏浓重，Benjamin偏清淡？为什么我的影调多低调魔幻，Benjamin的影调多高调自然。","b":false,"xe":"Once you see this difference in philosophy and content, you understand not only our distinct 'figures in the frame,' but also why I favor wide angles and even panoramas while Benjamin excels at medium-to-long focal scenes; why my grading is richer while his is airier; why my tones lean low-key and moody while his lean high-key and natural."},{"t":"p","x":"后面的答案，我会继续从构图、影调、色彩、技术、器材等层面对Benjamin的风格进行分析。但是你要记住齐白石先生的一句话：“学我者生，似我者死”！","b":false,"xe":"Next I'll analyze Benjamin's style across composition, tone, color, technique and gear. But remember Qi Baishi's warning: 'Those who learn from me live; those who merely imitate me die!'"},{"t":"p","x":"单单从构图、调色、技术上去临摹Benjamin，你只能做到“形”似，作品价值为0-20。","b":false,"xe":"If you copy Benjamin only at the level of composition, grading and technique, you achieve likeness in 'form' alone — value: 0-20."},{"t":"p","x":"如果你去读一下老子、庄子，再模仿一下他的技术和色彩，那么你才能做到“形”似且“神”似，作品价值60左右，成为该风格的优秀代表。","b":false,"xe":"If you read Laozi and Zhuangzi and then borrow his techniques and colors, you can be alike in both 'form' and 'spirit' — value: around 60, a fine exponent of the style."},{"t":"p","x":"如果你在深入学习东方哲学后，再利用别的视觉表达方法，做到神似形异。或者基于自身的生活体验，结合他的技术，达到神异形似。甚至只把他作为一种参考，神异形异。你才真正消化了Benjamin先生的作品，并开创了你自己的风格，作品价值90-100，像他那样独树一帜并斩获各类大奖。","b":false,"xe":"If, after truly absorbing Eastern philosophy, you express that spirit through different visual means — alike in spirit, different in form — or ground his techniques in your own life experience, or treat him as just one reference and diverge entirely, then you've truly digested Benjamin's work and founded your own style — value: 90-100, as original and decorated as he is."},{"t":"h","x":"2","xe":"2"},{"t":"h","x":"构图","xe":"Composition"},{"t":"p","x":"一张照片形式上的结构，可以大致分为：构图、影调和色彩三个部分。所以接下来，我会从这三个方面进行分析。关于什么是构图、影调和色彩，我这里就偷懒直接上我的《风光摄影后期基础》一书中的截图了。","b":false,"xe":"A photo's formal structure breaks down into composition, tone and color. I'll analyze all three next. For definitions, I'll be lazy and use screenshots from my book Foundations of Landscape Photography Post-Processing."},{"t":"img","f":"img-14","w":644,"h":1137},{"t":"img","f":"img-15","w":637,"h":784},{"t":"p","x":"Benjamin的作品大多使用中长焦拍摄（以及在该视角下进行数码合成），擅长大面积留白（或者细节少的纯色块），为的是减少画面中的景物构成，让氛围更加空灵、安静。","b":false,"xe":"Benjamin shoots mostly at medium-to-long focal lengths (compositing within that perspective), and he's a master of negative space (or low-detail solid areas) — reducing visual elements so the mood feels airy and quiet."},{"t":"p","x":"构图常用风光摄影师的：前景、中景、背景 三层法。","b":false,"xe":"His compositions often use the landscape photographer's three-layer method: foreground, midground, background."},{"t":"img","f":"img-16","w":474,"h":597},{"t":"p","x":"或者中景、背景 的长焦两层构图。","b":false,"xe":"Or a two-layer, midground-plus-background telephoto composition."},{"t":"img","f":"img-17","w":474,"h":593},{"t":"p","x":"如果画面中有人、动物、突出植物这样的强烈兴趣点，大部分采用三分法放置，特别是背景复杂的画面。","b":false,"xe":"When there's a strong point of interest — a person, animal, or striking plant — he mostly places it by the rule of thirds, especially against busy backgrounds."},{"t":"img","f":"img-18","w":794,"h":472},{"t":"p","x":"如果画面有大面积留白，摄影师会更多把人物从三分位置往边缘偏移，以达到更具张力的视觉平衡。","b":false,"xe":"When the frame is dominated by negative space, he pushes the figure past the thirds toward the edge, achieving a more dynamic visual balance."},{"t":"img","f":"img-19","w":393,"h":593},{"t":"p","x":"什么时候用三分法，什么时候不用，需要根据主体情况和画面构成进行分析，这点我也在《风光摄影后期基础》中详细写明了：","b":false,"xe":"When to use the rule of thirds and when not to depends on the subject and the frame's structure — I cover this in detail in my book too:"},{"t":"img","f":"img-20","w":633,"h":335},{"t":"p","x":"虽然Benjamin主要是中长焦场景，但是你会发现他的照片非常的有层次感，这是因为他常用纵透视、遮挡和空气感来精妙的构造画面：","b":false,"xe":"Though Benjamin works mainly at longer focal lengths, his images are remarkably layered, because he masterfully constructs depth through occlusion, overlapping and aerial perspective:"},{"t":"p","x":"先理解什么是遮挡与纵透视：","b":false,"xe":"First, understand occlusion and overlap:"},{"t":"img","f":"img-21","w":660,"h":1050},{"t":"img","f":"img-22","w":642,"h":966},{"t":"img","f":"img-23","w":642,"h":963},{"t":"img","f":"img-24","w":640,"h":443},{"t":"p","x":"再来看下Benjamin老兄的照片构图，是不是感觉到深深的套路？","b":false,"xe":"Now look at Benjamin's compositions — sense the familiar pattern?"},{"t":"img","f":"img-25","w":477,"h":593},{"t":"p","x":"下面这张除了遮挡、纵透视，还利用了空气感。","b":false,"xe":"The next image adds aerial perspective on top of occlusion and overlap."},{"t":"img","f":"img-26","w":475,"h":596},{"t":"p","x":"那什么是空气感：","b":false,"xe":"And what is aerial perspective?"},{"t":"img","f":"img-27","w":661,"h":680},{"t":"p","x":"举一反三才能融会贯通","b":false,"xe":"Learn by analogy — that's how knowledge truly sticks."},{"t":"img","f":"img-28","w":595,"h":589},{"t":"p","x":"最后当然也少不了西方摄影师惯用的线性透视：","b":false,"xe":"And of course the linear perspective Western photographers love:"},{"t":"img","f":"img-29","w":676,"h":1249},{"t":"p","x":"例子太多了，这里随便截图几张都是他线性透视的实际应用：","b":false,"xe":"Examples abound — here are just a few casual screenshots of his linear perspective in action:"},{"t":"img","f":"img-30","w":475,"h":596},{"t":"img","f":"img-31","w":474,"h":592},{"t":"h","x":"3","xe":"3"},{"t":"h","x":"影调","xe":"Tonal Range"},{"t":"p","x":"Benjamin的影调以没有纯黑和纯白的长调为主，高中低调都有，但中调偏多，整体对比度偏低，局部细节突出。如果不懂什么是高中低、长中短调，建议阅读《风光摄影后期基础》中的阐述：","b":false,"xe":"Benjamin's tones are mostly long-scale, with no pure black or pure white; high, mid and low key all appear, but mid-tones dominate, overall contrast is low, and local detail is finely drawn. If you're unfamiliar with high/mid/low key or long/mid/short scales, see the explanation in my book:"},{"t":"img","f":"img-32","w":659,"h":1237},{"t":"img","f":"img-33","w":662,"h":882},{"t":"img","f":"img-34","w":661,"h":1036},{"t":"p","x":"注意没有纯黑和纯白这句话，也就是他主要还是用的亚当斯区域曝光法中的2-8区：","b":false,"xe":"Note the phrase 'no pure black or pure white' — he essentially works within zones 2-8 of the Adams Zone System:"},{"t":"img","f":"img-35","w":1080,"h":951},{"t":"p","x":"关于影调，大家去他的网站截图，然后用PS软件打开直方图分析即可。对于喜欢的摄影师，我常常把他们的作品截图下来，PS打开分析直方图，甚至用吸管详细分析他的调色模式。","b":false,"xe":"To study his tonality, screenshot his images and open the histogram in Photoshop. For photographers I admire, I often screenshot their work, analyze the histogram, and even sample colors with the eyedropper to decode their grading patterns."},{"t":"img","f":"img-36","w":849,"h":738},{"t":"img","f":"img-37","w":840,"h":707},{"t":"h","x":"4","xe":"4"},{"t":"h","x":"色彩","xe":"Color"},{"t":"p","x":"一张作品的氛围，很大程度上是他的主色调赋予的，一张蓝色和一张绿色的照片，一张单色和一张多色的照片，一张高饱和和一张低饱和的照片，给人带来的感受是完全不一样的。","b":false,"xe":"An image's mood is largely defined by its dominant colors. A blue photo versus a green one, a monochrome versus a multicolor one, a high- versus low-saturation one — each feels entirely different."},{"t":"img","f":"img-38","w":631,"h":202},{"t":"p","x":"Benjamin的作品大部分都只有1-2种颜色（注意这里和后面我们谈颜色和搭配时，都排除了黑白灰的中性色彩），主色调突出，所以画面的情绪感很好。","b":false,"xe":"Most of Benjamin's works use only 1-2 colors (excluding the neutral black, white and grays here and below). With a clear dominant hue, the emotional register is strong."},{"t":"p","x":"Benjamin的调色基本上都是低饱和度。高饱和热烈，低饱和宁静，要表现东方韵味，当然是低饱和度为主，这点很好理解。","b":false,"xe":"His grading is almost always low-saturation. High saturation feels fervent; low saturation feels serene. To convey an Eastern sensibility, low saturation is the natural choice."},{"t":"p","x":"其色彩搭配一般就是3种模式：","b":false,"xe":"His color schemes generally follow three patterns:"},{"t":"p","x":"1）单色搭配（只有1种颜色时）","b":false,"xe":"1) Monochrome (a single color)"},{"t":"p","x":"2）互补色/冷暖色（只有2种颜色时）","b":false,"xe":"2) Complementary / warm-cool pairs (two colors)"},{"t":"p","x":"3）相似色搭配（2-3种颜色时）","b":false,"xe":"3) Analogous colors (two to three colors)"},{"t":"p","x":"单色搭配：","b":false,"xe":"Monochrome:"},{"t":"img","f":"img-39","w":659,"h":1197},{"t":"p","x":"Benjamin单色搭配案例：","b":false,"xe":"Benjamin's monochrome examples:"},{"t":"img","f":"img-40","w":473,"h":589},{"t":"img","f":"img-41","w":474,"h":593},{"t":"img","f":"img-42","w":338,"h":597},{"t":"p","x":"互补色/冷暖色：","b":false,"xe":"Complementary / warm-cool:"},{"t":"img","f":"img-43","w":404,"h":749},{"t":"img","f":"img-44","w":645,"h":943},{"t":"p","x":"Benjamin互补色/冷暖色案例：","b":false,"xe":"Benjamin's complementary / warm-cool examples:"},{"t":"img","f":"img-45","w":476,"h":593},{"t":"img","f":"img-46","w":596,"h":592},{"t":"img","f":"img-47","w":477,"h":594},{"t":"p","x":"相似色搭配：","b":false,"xe":"Analogous colors:"},{"t":"img","f":"img-48","w":327,"h":662},{"t":"p","x":"Benjamin相似色案例：","b":false,"xe":"Benjamin's analogous-color examples:"},{"t":"img","f":"img-49","w":476,"h":594},{"t":"img","f":"img-50","w":474,"h":593},{"t":"img","f":"img-51","w":478,"h":597},{"t":"p","x":"色彩的奥妙体现在画面中每一个细节的统一和刻画，为什么下面两张照片，一张人穿的是橙色衣服？一张人穿的是青色衣服？都是很有讲究的。","b":false,"xe":"The magic of color lives in the unity and refinement of every detail. Why does the person wear orange in one image below and teal in the other? Nothing is accidental."},{"t":"p","x":"上图人选择橙色，首先是为了统一色调，和天空的橙色呼应。其次是为了不同，利用互补色把人从周围的青色环境中分离出来。下图也是同理。","b":false,"xe":"In the first image, the orange echoes the sky's orange to unify the palette — and simultaneously, as the complementary of the surrounding teal, it separates the figure from the environment. The second image works the same way."},{"t":"img","f":"img-52","w":474,"h":595},{"t":"p","x":"整体统一而局部不同，是摄影后期细节刻画的核心思想之一。","b":false,"xe":"Unity overall, difference in the details — a core principle of post-processing refinement."},{"t":"img","f":"img-53","w":653,"h":270},{"t":"h","x":"5","xe":"5"},{"t":"h","x":"技术","xe":"Technique"},{"t":"p","x":"技术服务于形式，具体用的哪种技术并不重要，最重要的是为什么要这么做，要达到哪种效果。这里只简单的解释Benjamin用到的一种技术：加深减淡技术对细节的刻画。","b":false,"xe":"Technique serves form; which specific technique is used matters far less than why — the intended effect. Here I'll cover just one technique Benjamin uses: dodge & burn for detail rendering."},{"t":"img","f":"img-54","w":758,"h":962},{"t":"img","f":"img-55","w":641,"h":1081},{"t":"img","f":"img-56","w":581,"h":951},{"t":"p","x":"再看一下Benjamin那些细节感强的照片，石头纹理清晰、远山层层突出，都是加深减淡工具慢慢刻画的啊（也有可能是用曲线结合选区蒙版，亮度蒙版结合中灰叠加图层等等其他技术刻画的。但具体的技术不重要，效果最重要）","b":false,"xe":"Look again at Benjamin's highly detailed images — crisp rock textures, mountain ridges emerging layer by layer — all patiently sculpted with dodge & burn (or curves with selection masks, luminosity masks with mid-gray overlay layers, etc. The specific technique doesn't matter; the effect does)."},{"t":"img","f":"img-57","w":475,"h":593},{"t":"img","f":"img-58","w":478,"h":595},{"t":"img","f":"img-59","w":395,"h":592},{"t":"p","x":"加深减淡需要多细致，看看下图的局部就知道了：","b":false,"xe":"How meticulous should dodge & burn be? Look at the close-up below:"},{"t":"img","f":"img-60","w":479,"h":596},{"t":"p","x":"每一次提亮，每一次压暗都是有他的道理的。","b":false,"xe":"Every brightening and every darkening has its reason."},{"t":"img","f":"img-61","w":392,"h":214},{"t":"img","f":"img-62","w":665,"h":1169},{"t":"h","x":"6","xe":"6"},{"t":"h","x":"总结","xe":"Conclusion"},{"t":"p","x":"我们分析一张照片或者一个摄影师的风格，应该从 “内容 - 形式 - 技术 - 器材”的顺序层层分析，不要一来就问“你用的什么镜头？”、“老师能透露下滤镜参数吗？”、“如何模仿这种调色？”，而是先感受和思考“作者展示了什么？表达了什么？”","b":false,"xe":"When analyzing a photo or a photographer's style, work through 'content → form → technique → gear' in order. Don't open with 'What lens did you use?' 'Can you share the filter settings?' or 'How do I copy this grade?' First feel and reflect: 'What is the author showing? What are they expressing?'"},{"t":"p","x":"我们进一步分析照片形式的时候，可以从影调、色彩、构图三个角度，从全局到细节，又慢慢的分析。","b":false,"xe":"When we then analyze form, we can work from tone, color and composition — from the global down to the details."},{"t":"p","x":"有时一张照片的计划、拍摄和后期需要花费数小时、数天甚至更长的时间，照片里一个小石头的摆放、色彩和明暗都有摄影师的深思熟虑，你看的越仔细，想的越深入，才能真正品味和学习一张照片。","b":true,"xe":"Planning, shooting and editing a single photo can take hours, days or longer. Even the placement of a small stone, a color, a shift of brightness reflects the photographer's deliberation. The closer you look and the deeper you think, the more you can truly savor and learn from an image."},{"t":"h","x":"欢迎关注@Thomas看看世界，","xe":"Follow @Thomas Chu Photo"},{"t":"h","x":"每周学会一个摄影技能。","xe":"Learn one photography skill every week."}],"titleEn":"How to Analyze and Emulate a Photographer's Shooting & Editing Style"}