{"slug":"composition-balance-tension","title":"只会套用三分法？教你从根源上理解摄影构图，绝对干货！","author":"Thomas看看世界","date":"2021-05-30","wechat":"https://mp.weixin.qq.com/s?__biz=MzI4NDA5MzE5NQ==&mid=2247493385&idx=1&sn=b2e228324a98cb40c001db168999d14b&chksm=eb82196ddcf5907b3bf7a79b4370273068c2e8cd4199237d0dc830179d8d20b0c8f0ac7161f9&scene=21#wechat_redirect","blocks":[{"t":"h","x":"Thomas看看世界","xe":"Thomas Chu Photo"},{"t":"p","x":"当我们从网上搜索摄影构图的相关教程，一般都是在讲三分法、黄金分割、对称法等等公式套路。","b":false,"xe":"When we search the web for tutorials on photographic composition, they usually teach formulas like the rule of thirds, the golden ratio, and symmetry."},{"t":"p","x":"这些法则有一定的实用性，但也有大量的反例和无法应用的情况。","b":false,"xe":"These rules are somewhat practical, but there are plenty of counterexamples and situations where they can't be applied."},{"t":"p","x":"因为视觉构图的底层原理，并不是这些公式套路，而是对秩序、结构、平衡与张力、二维与三维的理解。","b":false,"xe":"Because the underlying principles of visual composition are not these formulas, but an understanding of order, structure, balance and tension, and two versus three dimensions."},{"t":"p","x":"今天的教程将从摄影视觉的底层原理之一 - 平衡与张力入手，和大家分享如何去构图。","b":false,"xe":"Today's tutorial starts from one of the underlying principles of photographic vision — balance and tension — and shares how to compose."},{"t":"p","x":"理解了底层的原理，我们才能灵活运用三分法、对称法这些公式套路，知道他们的区别和局限性，同时跳脱出这些法则，更加灵活的根据实际情况构图。","b":false,"xe":"Only by understanding the underlying principles can we flexibly apply formulas like thirds and symmetry, know their differences and limitations, and at the same time break free of these rules to compose more flexibly according to the actual situation."},{"t":"h","x":"视频教程","xe":"Video tutorial"},{"t":"bili","bv":"BV1tq4y1j7sK","bpic":"bili-1","bt":"只会套用三分法？教你从根源上理解摄影构图，绝对干货！"},{"t":"p","x":"这一篇是上面视频的图文整理。搜索「摄影构图」找到的永远是三分法、对称法、黄金分割的公式清单，但大量名作根本不符合这些法则。Thomas 从底层原理入手，用「平衡与张力」这对关键词解释构图的本质——为什么三分法有效、Bruce Gilden 为什么把人放在边角。本文整理成四个章节。","xe":"This is the illustrated companion to the video above. Search 'photography composition' and you get formula lists — rule of thirds, symmetry, golden ratio — yet countless masterpieces obey none of them. Starting from first principles, Thomas uses the key pair 'balance and tension' to explain what composition really is: why the rule of thirds works, why Bruce Gilden throws his subject to the corner. Four chapters below.","b":false},{"t":"img","f":"v01","w":768,"h":480},{"t":"h","x":"01 构图法则的三个问题","xe":"01 Three Problems with Composition Rules"},{"t":"p","x":"死记构图法则会遇到三个问题：一是有大量著名反例——Alex Webb 的照片既不三分也无中心，Bruce Gilden 的人被甩到边角、线条全部倾斜，Max Rive 稳重的作品也只是「大约偏左一点」；二是遇到具体场景不知道该套哪条法则；三是容易为构图而构图，本末倒置——构图终究是为画面表达和故事呈现服务的（视频 0:31 处）。","xe":"Memorizing rules brings three problems: first, famous counterexamples abound — Alex Webb's frames are neither thirds nor centered, Bruce Gilden throws subjects to the corner with every line tilted, and Max Rive's stately images merely sit 'slightly off-center'; second, in a concrete scene you never know which rule applies; third, you start composing for the rule's sake, putting the cart before the horse — composition exists to serve expression and story (at 0:31 in the video).","b":false},{"t":"img","f":"v02","w":768,"h":480},{"t":"img","f":"v03","w":768,"h":480},{"t":"h","x":"02 视觉重力：平衡的物理学","xe":"02 Visual Weight: the Physics of Balance"},{"t":"p","x":"平衡是静态、对称、稳定、横平竖直、客观；张力则是夸张、动感、不对称、倾斜与强烈情感。把握两者的「度」由视觉重力决定：物体的色彩、大小、数量、位置、方向与质感都影响其视觉重力。天平两端等距的物体，深色的就是显得更重（视频 4:07 处）。","xe":"Balance is static, symmetric, stable, level, objective; tension is exaggerated, dynamic, asymmetric, tilted, emotional. The balance between them is set by visual weight: an object's color, size, quantity, position, direction and texture all contribute. On a balanced beam at equal distances, the darker block simply looks heavier (at 4:07 in the video).","b":false},{"t":"img","f":"v04","w":768,"h":480},{"t":"p","x":"再复习中学的杠杆原理：大而重的物体离画面中心近，小而轻的物体离中心远，照样能平衡。Alex Webb 的街头照片正是如此——左侧两个人大而靠近中心，右侧七个小人物被安排在远离中心的边框处，用数量与距离找回重量，形成精妙的杠杆平衡（视频 5:06 处）。","xe":"Recall the lever principle from school: a big heavy object near the center can be counterweighted by small light ones far from it. Alex Webb's street work works exactly like this — two large figures near the center on the left, seven smaller ones pushed to the far edges on the right, their quantity and distance restoring the weight, forming an exquisite lever balance (at 5:06 in the video).","b":false},{"t":"img","f":"v05","w":768,"h":480},{"t":"img","f":"v06","w":768,"h":480},{"t":"h","x":"03 最强平衡与最强张力","xe":"03 Maximum Balance Versus Maximum Tension"},{"t":"p","x":"什么时候要绝对平衡？教堂、寺庙天生对称而庄严，拍摄时把主体放在正中才稳重大气；证件照必须居中——因为要客观、庄重、沉稳，拍成三分法会被打回重拍。什么时候要最强张力？Bruce Gilden 把人物放在边角、用倾斜线条与夸张表情制造不平衡的冲击——动态、不对称、斜线与情感都是张力的来源（视频 7:26 处）。","xe":"When is absolute balance right? Churches and temples are born symmetric and solemn — center the subject for gravitas; ID photos must be centered, objective and composed — shoot one on the thirds and it gets rejected. When is maximum tension right? Bruce Gilden corners his subjects, tilts every line and hunts extreme expressions — motion, asymmetry, diagonals and emotion are all sources of tension (at 7:26 in the video).","b":false},{"t":"img","f":"v07","w":768,"h":480},{"t":"img","f":"v08","w":768,"h":480},{"t":"img","f":"v09","w":768,"h":480},{"t":"h","x":"04 实战：在平衡与张力之间取度","xe":"04 In Practice: Choosing the Balance Point"},{"t":"p","x":"大多数照片其实处在中间态——动态平衡里带一点张力。拍冰川纹理时，重复的纹样看多了会无聊，Thomas 把小小的室友放在画面边角强化张力，而不破坏平衡；若人物很大再放边角，平衡就彻底被打破，只会让人不适（视频 12:14 处）。","xe":"Most photos live in between — a dynamic balance carrying some tension. Shooting glacier textures, whose repetition grows dull, Thomas placed his small companion at the frame's edge to boost tension without breaking balance; a large figure in the corner would shatter the balance and simply feel wrong (at 12:14 in the video).","b":false},{"t":"img","f":"v10","w":768,"h":480},{"t":"p","x":"舟山群岛的雾天，看点本就稀少：三分法显得平淡，中心构图更无趣——干脆把渺小的人物放进画面一角，大片留白既表达了「人在天地间的渺小」，又极大增强了张力，让平淡的雾天有了耐人寻味的看点（视频 13:39 处）。","xe":"On a foggy day in the Zhoushan Islands, with little to see, the thirds feel flat and a centered frame duller — so he set the tiny figure at a corner: the vast negative space expresses human smallness under heaven while the edge placement supercharges the tension, giving a plain foggy scene something to discover (at 13:39 in the video).","b":false},{"t":"img","f":"v11","w":768,"h":480},{"t":"p","x":"阳光下度假的沙滩想轻松而有活力，他把岸线取斜、小船放在三分之一处；船大而色浓不能太靠边，又在左侧留三个人稍作压重——收一收张力、加一点点平衡。表现速度的汽车摄影几乎全是倾斜构图，但车太靠边就会「像要翻掉」，同样要往回收一点。张力与平衡没有定量算法，靠长期观看与练习去体会（视频 15:20 处）。","xe":"On a sunlit holiday beach he wanted ease and energy: a tilted shoreline, the kayak around the lower third; but the kayak is big and saturated — too close to the edge it would overbalance, so three people on the left press it back a little, trading some tension for poise. Car photography for speed is almost always tilted, yet push the car fully to the edge and it looks about to flip — pull it back in. There is no formula for this; only long looking and practice teach the feel (at 15:20 in the video).","b":false},{"t":"img","f":"v12","w":768,"h":480},{"t":"quote","x":"1. 构图法则只是表象，底层是视觉重力决定的平衡与张力；2. 大物体靠中心，小物体用数量和远距去平衡——杠杆原理就是构图原理；3. 庄严对称拍教堂与证件照，倾斜动感拍情绪与速度，先想表达再选构图；4. 大部分照片要的是动态平衡中的一点张力，这个「度」只能靠长期观看与练习去把握。","xe":"1. Composition rules are surface; beneath them, balance and tension governed by visual weight; 2. Big objects near the center, small ones balancing through number and distance — the lever principle is the composition principle; 3. Symmetry for churches and ID photos, tilt and motion for emotion and speed — decide the expression first, then the composition; 4. Most pictures want a little tension inside dynamic balance, and that degree comes only from years of looking and practice."},{"t":"h","x":"高清视频：","xe":"HD video:"},{"t":"p","x":"https://www.bilibili.com/video/BV1tq4y1j7sK/","b":false,"xe":"https://www.bilibili.com/video/BV1tq4y1j7sK/"},{"t":"h","x":"PPT","xe":"PPT"},{"t":"img","f":"img-02","w":960,"h":600},{"t":"img","f":"img-03","w":960,"h":600},{"t":"img","f":"img-04","w":960,"h":600},{"t":"img","f":"img-05","w":960,"h":600},{"t":"img","f":"img-06","w":960,"h":600},{"t":"img","f":"img-07","w":960,"h":600},{"t":"img","f":"img-08","w":960,"h":600},{"t":"img","f":"img-09","w":960,"h":600},{"t":"img","f":"img-10","w":960,"h":600},{"t":"img","f":"img-11","w":960,"h":600},{"t":"img","f":"img-12","w":960,"h":600},{"t":"img","f":"img-13","w":960,"h":600},{"t":"img","f":"img-14","w":960,"h":600},{"t":"img","f":"img-15","w":960,"h":600},{"t":"img","f":"img-16","w":960,"h":600},{"t":"img","f":"img-17","w":960,"h":600},{"t":"img","f":"img-18","w":960,"h":600},{"t":"img","f":"img-19","w":960,"h":600},{"t":"img","f":"img-20","w":960,"h":600},{"t":"img","f":"img-21","w":960,"h":600},{"t":"img","f":"img-22","w":960,"h":600},{"t":"img","f":"img-23","w":960,"h":600},{"t":"img","f":"img-24","w":960,"h":600},{"t":"img","f":"img-25","w":960,"h":600},{"t":"img","f":"img-26","w":960,"h":600},{"t":"img","f":"img-27","w":960,"h":600},{"t":"img","f":"img-28","w":960,"h":600},{"t":"img","f":"img-29","w":960,"h":600},{"t":"img","f":"img-30","w":960,"h":600},{"t":"h","x":"相关文章：","xe":"Related articles:"},{"t":"p","x":"《比PS技术更重要的摄影后期五大底层概念！》","b":false,"xe":"\"Five Underlying Post-Processing Concepts More Important than PS Technique!\""},{"t":"p","x":"《摄影后期，技术并不是最重要的！》","b":false,"xe":"\"In Post-Processing, Technique Is Not the Most Important Thing!\""},{"t":"p","x":"《摄影后期最重要的一步，90%的爱好者都忽略了！》","b":false,"xe":"\"The Most Important Step in Post-Processing — 90% of Enthusiasts Ignore It!\""},{"t":"p","x":"《这些摄影大片，竟然都是后期裁出来的？》","b":false,"xe":"\"These Photography Masterpieces Were All Cropped Out in Post?\""},{"t":"p","x":"《摄影后期中的5大误区》","b":false,"xe":"\"Five Major Misconceptions in Post-Processing\""},{"t":"p","x":"《局部处理是摄影后期的核心》","b":false,"xe":"\"Local Adjustment Is the Core of Post-Processing\""},{"t":"p","x":"《风光摄影的后期可以做到什么？》","b":false,"xe":"\"What Can Post-Processing Do for Landscape Photography?\""},{"t":"p","x":"《放下相机，立地成佛 - 风光摄影视觉化后期》","b":false,"xe":"\"Put Down the Camera and Attain Enlightenment — Visualized Post for Landscape Photography\""},{"t":"p","x":"《合成 = 作假？这4种摄影合成技术反而是要还原真实！》","b":false,"xe":"\"Compositing = Faking? 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