{"slug":"composition-contrast-clash","title":"这个构图技巧，专业摄影师都在用！","author":"Thomas看看世界","date":"2023-03-12","wechat":"https://mp.weixin.qq.com/s?__biz=MzI4NDA5MzE5NQ==&mid=2247497136&idx=1&sn=b1daa12ca02427532097b103487036f3&chksm=eb820bd4dcf582c2159abbe1d6e2dcd169b4212f71299a60fbf006851f807d38b39e8aadd88f&scene=21#wechat_redirect","blocks":[{"t":"p","x":"摄影构图中最重要的不是把画面中的人或物放在合适的位置，而是去考虑哪些元素需要取入画面之中。","b":false,"xe":"The most important thing in photographic composition is not placing the people or objects in suitable positions, but considering which elements to take into the frame."},{"t":"p","x":"而重复与呼应、对比与冲突，就是专业摄影师们常常用到的取景构图技巧。","b":false,"xe":"And repetition & echo, contrast & clash are the framing-and-composition techniques professional photographers use all the time."},{"t":"p","x":"在以前的教程中我们已经讲解过重复与呼应，今天的视频中，我会用很多案例去讲解对比与冲突的妙用。","b":false,"xe":"A previous tutorial covered repetition and echo. In today's video, I'll use many examples to explain the magic of contrast and clash."},{"t":"h","x":"视频","xe":"Video"},{"t":"bili","bv":"BV1a24y147Fy","bpic":"bili-1","bt":"这个构图技巧，专业摄影师都在用！"},{"t":"p","x":"这一篇是上面视频的图文整理。上次教程讲了「重复与呼应」，这一次 Thomas 用十余张照片案例拆解另一个专业摄影师常用的构图思路——「对比与冲突」：从冰山与海鸥的大与小，到雪山前景的柔与硬，再到马克·吕布的花与钢枪。所有案例截图都配好了视频时间点，方便对照原片。","xe":"This is the illustrated companion to the video above. Where the last tutorial covered repetition and echo, Thomas now breaks down the other framing habit of professional photographers — contrast and clash — through a dozen cases: an iceberg against gulls, soft foregrounds against hard peaks, and Marc Riboud's flower facing bayonets. Every case is paired with a timestamped screenshot so you can follow along in the video."},{"t":"p","x":"先看总览。视频开头（0:06 处）的这张大纲卡点明了全片结构：摄影构图常用技巧有两把刷子——重复与呼应，以及本期的对比与冲突。下面这张反义词清单（1:50 处）则是一张随时可以带去拍摄的「弹药库」，正文的案例全部由它展开。","xe":"The overview first. The opening slide (at 0:06) frames the whole tutorial: composition has two classic tools — repetition & echo, and this episode's contrast & clash. The antonym list below (at 1:50) is an ammunition kit you can carry to any shoot; every case in this article unfolds from it."},{"t":"img","f":"v01","w":852,"h":480},{"t":"img","f":"v04","w":852,"h":480},{"t":"h","x":"01 把反义词装进画面","xe":"01 Putting Antonyms into the Frame"},{"t":"p","x":"想表现一个物体的大，最有效的办法是让一个小物体与它对比。视频开篇的案例是一张冰山航拍：如果画面里只有冰山一角，观者根本无法判断它到底有多大；Thomas 专门等到三只海鸥飞过时按下快门，微小的海鸥与庞大的冰体一旦同框，冲突产生了，场景的宏大也就不言自明（视频 0:16-0:44 处）。","xe":"To show how big something is, the most effective move is to pit it against something small. The opening case is an aerial of an iceberg: with only a corner of ice in frame, the viewer cannot gauge its scale at all. Thomas waited for three gulls to fly through and pressed the shutter — once the tiny birds and the enormous ice share the frame, the clash speaks, and the scene's immensity becomes self-evident (at 0:16-0:44 in the video)."},{"t":"img","f":"v02","w":852,"h":480},{"t":"p","x":"另一种对比藏在内涵里。这张街拍中，他后期故意把广告牌调成醒目的红色与绿色，而画面真正的主角是那个毫不起眼的劳动者——普通劳动者与奢侈品品牌所宣扬的精致生活，形成了身份上的冲突（视频 0:50-1:16 处）。色彩服务于这层隐喻，让对比一眼可见。","xe":"Another kind of contrast hides in meaning. In this street shot he deliberately graded the billboard into striking reds and greens, while the real subject is the unremarkable worker in the frame — the ordinary labourer versus the refined life that luxury brands advertise, a clash of identities (at 0:50-1:16 in the video). The colour serves that metaphor and makes the contrast legible at a glance."},{"t":"img","f":"v03","w":852,"h":480},{"t":"p","x":"方法论随之浮出水面：语文课里学过的所有反义词，几乎都能搬进取景框。形式上的有明与暗、净与乱、大与小、动与静、黑与白、软与硬、清晰与模糊、多与少、方与圆；内容上的有古代与现代、人工与自然、消亡与希望、贫穷与富裕（视频 1:33-2:17 处）。构图从来不只是「把元素放在哪」的问题，更是「把哪些元素取进来」的问题——对比与冲突正是取景时的筛选标准，也是给照片增加深度和视觉冲击力的原料。","xe":"The methodology surfaces: nearly every antonym from language class can be moved into the viewfinder. Formal pairs — light and dark, order and chaos, big and small, moving and still, black and white, soft and hard, sharp and blurred, many and few, square and round; content pairs — ancient and modern, man-made and natural, decline and hope, poverty and wealth (at 1:33-2:17 in the video). Composition is never just about where to place elements, but which elements to admit; contrast and clash are the selection criterion at the framing stage, and the raw material of depth and visual impact."},{"t":"h","x":"02 风光对比：柔与硬、明与暗","xe":"02 Landscape Contrasts: Soft against Hard, Light against Dark"},{"t":"p","x":"风光摄影里的经典应用是前景选择。很多人拍雪山喜欢找前景，而好的前景往往是「柔」的——水、花、植被（视频 2:55 处）。以风光摄影师 Max Rive 的这张作品为例：流动的水与硬朗的山体形成软硬对比；更妙的是他专门等到阳光点亮远处雪峰、拍出日照金山，而前景留在阴影里——明暗与冷暖的对比同时成立，照片因此显得非常舒服（视频 2:58-3:25 处）。","xe":"In landscape photography this becomes a question of foregrounds. Many photographers want a foreground for snowy peaks, and good foregrounds tend to be soft — water, flowers, vegetation (at 2:55 in the video). Take landscape photographer Max Rive's image: the flowing water contrasts with the hard mountain in texture; better still, he timed the shot for alpenglow on the distant summits while the foreground stayed in shadow — light-dark and warm-cool contrasts hold at once, and the photo breathes for it (at 2:58-3:25 in the video)."},{"t":"img","f":"v05","w":852,"h":480},{"t":"p","x":"Thomas 自己的这张照片则同时用了多与少、大与小和色彩对比。后期调色时他先把整张照片去色，再重新上色，但去色时刻意保留了一点建筑的橙色——山体的颜色基本被去掉，整片青色之中只留这一点点睛之笔（视频 3:29-4:17 处）。如果整个场景都是青色一团，对比便无从谈起；正因为「万青丛中一点橙」，视线才有了落点。","xe":"Thomas's own photo stacks many-against-few, big-against-small and a colour contrast. In post he first desaturates the whole frame, then re-colours it — but keeps a touch of orange on the building while stripping the mountain's hues, a single finishing stroke of warm in an expanse of teal (at 3:29-4:17 in the video). If the whole scene were one teal mass there would be no contrast; precisely because one orange survives, the eye has somewhere to land."},{"t":"img","f":"v06","w":852,"h":480},{"t":"h","x":"03 后期制造对比","xe":"03 Building Contrast in Post"},{"t":"p","x":"对比不只在按下快门时发生，后期同样可以主动制造。视频中并排放置的两张照片（视频 4:18 处）都兼具重复与呼应、对比与冲突。左边一张：他人为地把前后景的颜色拉开，采用大家最熟悉的青橙色调——青与橙本身就是一组对比色；右边一张：用亮度蒙版相关技术（明度建筑手法）给建筑打上不太自然但方向感强烈的光线，制造明暗反差（视频 4:39-4:54 处）。","xe":"Contrast is not only seized at the shutter — post can manufacture it deliberately. The two photos shown side by side in the video (at 4:18) each combine repetition & echo with contrast & clash. In the left one he pulls foreground and background colours apart into the familiar teal-and-orange — the two hues are themselves complementary opposites; in the right one, luminosity-mask techniques (the lightness-architecture approach) paint the building with stylised but strongly directional light, creating contrast of brightness (at 4:39-4:54 in the video)."},{"t":"p","x":"右边这张还有一层软与硬：整张照片的云被故意做成柔化的状态——只有柔化的云，才能与硬朗的金属结构建筑对比起来（视频 5:00 处）。拍这类硬朗建筑时经常顺手取云取水，正是为了这个软硬之比。","xe":"The right photo adds one more soft-versus-hard layer: the clouds were deliberately smoothed — only softened clouds can stand against hard metal-and-glass architecture (at 5:00 in the video). That is why cloud and water so often ride along when photographing rigid structures: for the soft-hard ratio."},{"t":"img","f":"v07","w":852,"h":480},{"t":"h","x":"04 纪实对比：花与钢枪、一盏灯与万家灯火","xe":"04 Documentary Contrasts: Flower versus Bayonets, One Lamp versus a City of Lights"},{"t":"p","x":"对比与冲突在纪实摄影中走得更远。Marc Riboud 那张经典的军队与献花少女的照片之所以载入史册，正因为它承载了大量对比：战争与和平的意义之比；画面形式上，一个人与一群人、一个少女与一队军汉、一朵花与一片钢枪（视频 5:24-5:54 处）。对比极其直白，震撼力也极其突出。","xe":"Documentary photography pushes contrast further. Marc Riboud's classic image — soldiers and a girl offering a flower — made history precisely because it carries so many contrasts at once: war against peace in meaning; and in form, one person against a crowd, a young woman against a rank of armed men, a single flower against a thicket of bayonets (at 5:24-5:54 in the video). The contrasts are blunt, and so is the impact."},{"t":"img","f":"v08","w":852,"h":480},{"t":"p","x":"Thomas 去年的纪实项目《围楼里的微光》同样把对比写进了拍摄计划。项目一开始，他就想好了常见的对比词：旁边城市的万家灯火，能不能与土楼的灯光形成对比与冲突？（视频 5:57-6:40 处）后期调白平衡时，他故意把原本中性的夜色调得偏冷，让整张照片带上冷与暖的对峙，也侧面烘托出居住环境的并不舒适（视频 6:05 处）。","xe":"Thomas's own documentary project of the past year, Glimmers in the Roundhouse, wrote contrast into its shooting plan from day one. Before starting, he had already listed candidate antonyms: could the city's sea of lights next door clash with the lamp-light of the tulou? (at 5:57-6:40 in the video) In post he cooled the originally neutral night tones on purpose, setting cold against warm — which also hints at how uncomfortable the dwellings were (at 6:05 in the video)."},{"t":"img","f":"v09","w":852,"h":480},{"t":"p","x":"为了这个对比，取景是「专门」的：土楼里其实已有不少业主入住、亮着零星灯火，但他偏偏要找一个构图，让画面里只有一盏灯是亮着的——这一盏灯与背后的万家灯火，形成了意义极强的冲突（视频 6:43-6:59 处）。冷与五颜六色、单个与数量，多重对比叠加，照片的含义变得非常直接，冲突性与故事性兼具，更加发人深省（视频 7:05-7:18 处）。","xe":"The framing, then, had to be deliberate: residents had long moved into the tulou with lights scattered about, yet he hunted for a composition where exactly one lamp burns — that single lamp against the city's ten thousand lights behind it is a conflict of enormous force (at 6:43-6:59 in the video). Cold against multicolour, single against many: the stacked contrasts make the photo's meaning unmistakable, charged with tension and story, and deeply thought-provoking (at 7:05-7:18 in the video)."},{"t":"img","f":"v10","w":852,"h":480},{"t":"h","x":"05 案例：从孤寂到温暖","xe":"05 Closing Cases: from Loneliness to Warmth"},{"t":"p","x":"最后几张照片快速过一遍这套语言的组合用法。雾中的橙色树：既有形式上冷色与暖色的对比，也有意义上生命与无生命的对比（视频 7:27 处）。夜里的房屋与路灯：动与静的对比，反而更能凸显环境明与暗所烘托出的那种孤寂、冷冽的气氛（视频 7:41 处）。","xe":"A quick tour of how the vocabulary combines, in a final set of photos. The orange tree in fog: a formal contrast of cold and warm, and simultaneously a contrast of life against lifelessness (at 7:27 in the video). The house and street lamp at night: the moving-versus-still contrast heightens the loneliness and chill that the light-dark scheme already evokes (at 7:41 in the video)."},{"t":"img","f":"v11","w":852,"h":480},{"t":"img","f":"v12","w":852,"h":480},{"t":"p","x":"压轴的这张获奖照片则几乎用上了全部技巧：所有房子都是同一种结构、整体都是冷色调——这是重复与呼应；冷色调搭配暖色灯光、整张照片偏亮而几个人影特别的黑——这是形式上的冷暖与明暗对比；天寒地冻的孤寂环境里，一家三口其乐融融、温暖团结——这是意义上的对比（视频 7:53-8:44 处）。当重复与呼应、对比与冲突同时成立，一张全球大奖照片就诞生了。","xe":"The award-winning finale deploys nearly the whole vocabulary: every house built to the same pattern, the whole scene in cold tones — repetition and echo; cold palette against warm lamplight, a bright frame with a few figures rendered distinctly black — formal contrasts of warm-cool and light-dark; and a family of three, content and close, inside the frozen loneliness — a contrast of meaning (at 7:53-8:44 in the video). When repetition & echo and contrast & clash all hold at once, a grand-prize photograph is born."},{"t":"img","f":"v13","w":852,"h":480},{"t":"quote","x":"1. 构图的核心问题是「把哪些元素取进画面」，对比与冲突就是取景的筛选器——想表现大就纳入小，想表现静就纳入动；2. 语文课的反义词都是构图弹药：形式上的明暗、冷暖、软硬、多少、动静，内容上的古今、人工与自然、消亡与希望、贫与富；3. 对比可以在前期等待（日照金山、海鸥经过），也可以在后期制造（去色留一点橙、青橙色调、明度建筑打光、柔化云）；4. 纪实摄影用它表达态度：一盏灯对万家灯火、一朵花对一片钢枪，冲突越直白，发人深省的力量越强。","xe":"1. The core question of composition is which elements to admit; contrast and clash are the framing filter — admit the small to say big, admit the moving to say still; 2. Every antonym from language class is ammunition: light-dark, warm-cool, soft-hard, many-few, moving-still in form; ancient-modern, man-made-natural, decline-hope, rich-poor in content; 3. Contrast can be waited for in the field (alpenglow, passing gulls) or manufactured in post (desaturate then keep one orange, teal-and-orange, lightness-architecture lighting, smoothed clouds); 4. In documentary work it becomes voice: one lamp against ten thousand lights, a flower against a thicket of bayonets — the blunter the clash, the deeper the provocation."}],"titleEn":"Contrast and Clash: A Composition Technique the Pros All Use"}