{"slug":"depth-5-tricks","title":"学会这5招，你的照片也会更有层次立体感！","author":"Thomas看看世界","date":"2017-11-12","wechat":"https://mp.weixin.qq.com/s?__biz=MzI4NDA5MzE5NQ==&mid=2247486114&idx=1&sn=7d668159a74952c48aa15593834ccc4e&chksm=eb81f4c6dcf67dd07263e4e52765bb0601a09308a880b0974e75e7c5be5e310d4fa8ece406da&scene=21#wechat_redirect","blocks":[{"t":"p","x":"托马斯的新书《风光摄影知识体系-后期基础》即将于12月出版。","b":false,"xe":"Thomas's new book \"A Knowledge System for Landscape Photography — Post-Processing Fundamentals\" (《风光摄影知识体系-后期基础》) will be published this December."},{"t":"p","x":"在新书中，我不仅详细介绍了Camera Raw、Photoshop的重要功能，还用近半本书的篇幅，系统性的介绍了现代风光后期的常见思路，比如分析一张作品的四个角度，后期调色的五大原则，风光摄影六大非虚构合成技法等等。","b":false,"xe":"In the new book, I not only detail the important functions of Camera Raw and Photoshop, but also devote nearly half the book to a systematic introduction to the common thinking of modern landscape post-processing — such as the four angles for analyzing a work, the five principles of color grading, and the six non-fictional compositing techniques of landscape photography."},{"t":"p","x":"本文内容即节选自新书中，向大家系统性的介绍摄影作品中的层次立体感由来。","b":false,"xe":"The content of this article is excerpted from the new book, systematically introducing the origins of layered three-dimensionality in photographic works."},{"t":"p","x":"世界是三维的，照片却是二维的。要在一个平面上表现出立体层次，在千百年的绘画技术发展中已经做过无数的探索。我们摄影师也可以从绘画理论中，汲取层次感和立体感的表达手法。","b":false,"xe":"The world is three-dimensional, but a photo is two-dimensional. Countless explorations have been made across thousands of years of painting to express three-dimensional layering on a flat surface. We photographers can also draw on painting theory for ways to express layering and three-dimensionality."},{"t":"p","x":"要表现三维空间，需要照片有层次感和立体感。而这两个名词又有所不同。","b":false,"xe":"To express three-dimensional space, a photo needs a sense of layering and a sense of three-dimensionality — and these two terms are different."},{"t":"p","x":"层次感指的是物体之间，体现出的远近前后的层次关系。立体感指的是各个物体本身，所表现出来的立体真实感。","b":false,"xe":"Layering refers to the near-far, front-back relationships shown between objects. Three-dimensionality refers to the solid realism displayed by each object itself."},{"t":"p","x":"在美术以及摄影中，三大面、五调子能帮助我们塑造立体感，而层次感则主要来源于遮挡、纵透视、线性透视和空气感。","b":true,"xe":"In fine art and photography, the \"three major planes\" and \"five tones\" help us sculpt three-dimensionality, while layering mainly comes from occlusion, vertical perspective, linear perspective, and aerial atmosphere."},{"t":"h","x":"1","xe":"1"},{"t":"h","x":"三大面","xe":"The Three Major Planes"},{"t":"p","x":"三大面五调子起源于西方素描体系，表现了物体受光后的明暗区域划分，是表现立体感的重要手段。","b":false,"xe":"The three major planes and five tones originate from the Western sketching system, describing how an object's light-and-shadow zones are divided after being lit — an important means of expressing three-dimensionality."},{"t":"p","x":"三大面指的是亮面、暗面和灰面。","b":false,"xe":"The three major planes are the light plane, the dark plane, and the gray plane."},{"t":"img","f":"img-02","w":640,"h":466},{"t":"p","x":"亮面是物体受光线直接照射的一面，在图像中一般是最亮的浅灰色、白色。暗面是背光的一面，所以一般是物体最暗的部分，显示出黑色、深灰色。灰面介于亮面和暗面之间，一般是侧光或者光线间接照到的部分，在图像中一般为中灰色。","b":false,"xe":"The light plane is the side of the object directly struck by light — usually the brightest light gray or white in the image. The dark plane is the side facing away from the light — usually the darkest part of the object, showing black or deep gray. The gray plane lies between the light and dark planes — usually the part lit by side light or indirect light, appearing medium gray in the image."},{"t":"p","x":"一个物体有了亮面、暗面和灰面三大面之后，立体感会大大提升。而且亮面、暗面的亮度对比越强，光线立体感越强烈。","b":true,"xe":"Once an object has the three planes — light, dark, and gray — its three-dimensionality greatly improves. And the stronger the brightness contrast between the light and dark planes, the stronger the sense of light and three-dimensionality."},{"t":"p","x":"我们在前期拍摄的时候，会发现完全顺光、逆光的物体，立体感都会比较差。","b":false,"xe":"When shooting in the field, we find that objects lit fully frontally or fully backlit have relatively poor three-dimensionality."},{"t":"img","f":"img-03","w":640,"h":425},{"t":"p","x":"而侧光、侧逆光、侧顺光的物体，立体感就会比较强烈。","b":false,"xe":"Objects in side light, side-backlight, or side-front light, by contrast, show strong three-dimensionality."},{"t":"img","f":"img-04","w":640,"h":376},{"t":"p","x":"同样都是热气球，为什么逆光的热气球会显得非常平面，而侧光的热气球却立体感十足呢？","b":false,"xe":"With the same hot-air balloons, why does a backlit balloon look very flat, while a side-lit balloon is full of three-dimensionality?"},{"t":"p","x":"就是因为顺光和逆光的照片，画面中的物体只有一个面，毫无明暗变化。而在侧光的照片中，物体却出现了亮面、灰面、暗面的组合，立体感更加明显。","b":false,"xe":"It's because in front-lit and backlit photos, the objects in the frame have only one plane with no tonal variation. In side-lit photos, however, the object shows a combination of light, gray, and dark planes — the three-dimensionality is much more obvious."},{"t":"p","x":"所以要表现一个物体的立体感，我们应该尽量使用侧光拍摄。","b":false,"xe":"So to express an object's three-dimensionality, we should try to shoot with side light."},{"t":"img","f":"img-05","w":640,"h":394},{"t":"p","x":"除了前期之外，我们后期也能应用三大面的相关知识，强化甚至创造出物体的立体感。","b":false,"xe":"Beyond shooting in the field, we can also apply the knowledge of the three major planes in post-processing, to strengthen or even create an object's three-dimensionality."},{"t":"p","x":"比如下图是一个球，由于球的各个区域都是一样的亮度，所以看起来是非常平面的。","b":false,"xe":"For example, the image below is a ball. Since every region of the ball has the same brightness, it looks very flat."},{"t":"img","f":"img-06","w":640,"h":549},{"t":"p","x":"我们要后期增加它的立体感，只需要通过加深减淡工具，让球的内部产生三大面就可以了。（加深减淡工具在本书第五章有详细介绍）","b":false,"xe":"To increase its three-dimensionality in post, we only need to use the dodge-and-burn tools to create the three major planes inside the ball. (Dodge and burn are introduced in detail in Chapter 5 of this book.)"},{"t":"img","f":"img-07","w":287,"h":151},{"t":"p","x":"我们可以使用加深工具，压暗球的左下角，让球有了暗面。使用减淡工具，提亮球的右上角，让球有了亮面。亮暗面交界的地方，自然过渡形成了灰面。","b":false,"xe":"We can use the burn tool to darken the ball's lower-left, giving it a dark plane; use the dodge tool to brighten the ball's upper-right, giving it a light plane. Where the light and dark planes meet, a natural transition forms the gray plane."},{"t":"p","x":"后期绘制三大面之后，球终于有了立体感。","b":false,"xe":"After painting the three major planes in post, the ball finally has three-dimensionality."},{"t":"img","f":"img-08","w":640,"h":527},{"t":"p","x":"我们可以进一步的提亮右上角，压暗左下角，提高亮面与暗面的明暗对比度，从而强化球的光影立体感。","b":false,"xe":"We can further brighten the upper-right and darken the lower-left, increasing the tonal contrast between the light and dark planes, thereby strengthening the ball's light-and-shadow three-dimensionality."},{"t":"img","f":"img-09","w":640,"h":515},{"t":"p","x":"所以我们要后期增加立体感，技术非常的简单。只需要用加深减淡的办法，画出或者强化物体的亮面、灰面和暗面就可以了。","b":false,"xe":"So increasing three-dimensionality in post is technically very simple: just use dodging and burning to paint out or strengthen the object's light, gray, and dark planes."},{"t":"p","x":"下面一张照片，是巴基斯坦著名的川口塔峰，但是现在照片立体感还不够强烈。","b":false,"xe":"The photo below shows Pakistan's famous Trango Towers, but the photo's three-dimensionality is not yet strong enough."},{"t":"img","f":"img-10","w":640,"h":511},{"t":"p","x":"所以后期我用加深减淡技术，提亮下图中用“1”标出来的地方，强化甚至创造出物体的亮面，压暗图中“3”标注的区域，后期进一步降低暗面的亮度。“2”所标注的区域，则自然的处理为了灰面。","b":false,"xe":"So in post I used dodge-and-burn to brighten the places marked \"1\" in the image below — strengthening or even creating the objects' light planes — and to darken the area marked \"3,\" further lowering the dark plane's brightness in post. The area marked \"2\" was naturally processed into the gray plane."},{"t":"img","f":"img-11","w":640,"h":582},{"t":"p","x":"有了对比更加突出的三大面，无论是云层，还是雪山，其立体感都大大增强了。","b":false,"xe":"With the three major planes now more strongly contrasted, both the clouds and the snowy mountains gained greatly enhanced three-dimensionality."},{"t":"img","f":"img-12","w":640,"h":476},{"t":"h","x":"2","xe":"2"},{"t":"h","x":"五调子","xe":"The Five Tones"},{"t":"p","x":"上面的三大面只考虑了单个物体本身。在很多的情况下，物体还会和周边物体相互作用，因此除了三大面之外，物体还会有更加丰富的明暗层次，那就是五调子。","b":false,"xe":"The three major planes above consider only a single object itself. In many cases, an object also interacts with surrounding objects — so beyond the three planes, an object has richer tonal gradations: the five tones."},{"t":"img","f":"img-13","w":640,"h":452},{"t":"p","x":"五调子中，高光是物体最亮的点，是直接反射光源的部分，类似于三大面中的亮面。在一些光滑的物体表面，高光会特别的突出。突出物体的高光，不仅可以强化立体感，还能增加物体的质感。","b":false,"xe":"Among the five tones, the highlight is the object's brightest point — the part directly reflecting the light source, similar to the light plane of the three planes. On smooth object surfaces, the highlight is especially prominent. Emphasizing an object's highlights not only strengthens three-dimensionality but also adds texture."},{"t":"p","x":"亮灰类似三大面中的灰面，是间接受光的部分。","b":false,"xe":"Light gray is similar to the gray plane of the three planes — the indirectly lit part."},{"t":"p","x":"而物体的背光部，则分成了反光和明暗分界线。反光区域虽然处于背光侧，但是由于周围其他物体的反射光照射，也会有一定的亮度。我们在后期时，合理的在暗部中增加反光，可以让物体显得更具体积感。","b":false,"xe":"As for the object's backlit part, it divides into reflected light and the boundary line between light and dark. Although the reflected-light area is on the backlit side, it still has some brightness because of light reflected from surrounding objects. In post, reasonably adding reflected light into the dark areas can make an object appear more volumetric."},{"t":"p","x":"明暗分界线，则是亮部到暗部的转折区域，一般是一条黑色的带状区域，在物体中表现为最暗的地方。","b":false,"xe":"The boundary line between light and dark is the transition zone from the lit to the unlit part — usually a dark band, appearing as the darkest place on the object."},{"t":"p","x":"除了物体本身之外，五调子还增加了投影。投影是物体本身遮挡光线后，在其他物体上产生的阴影。","b":false,"xe":"Beyond the object itself, the five tones also add the cast shadow. A cast shadow is the shadow an object casts onto other objects when it blocks the light."},{"t":"p","x":"投影其实是用画面中的其他物体，解释了物体本身的立体感，会让物体显得更稳重、真实。在强烈的光线下，如果一个物体在近处的地面、墙壁上竟然没有投影，就会显得特别的浮、非常的假。","b":false,"xe":"A cast shadow actually uses other objects in the frame to explain the three-dimensionality of the object itself, making it appear steadier and more real. Under strong light, if an object casts no shadow on the nearby ground or wall, it will look especially floaty and very fake."},{"t":"p","x":"下面一张英国巨人之路的照片，你会感觉前景的石头非常的立体，远远比前面三大面的几张样片更加立体。这是因为这些石头，还有5调子的更加细腻刻画。","b":false,"xe":"In this photo of the Giant's Causeway in England below, you will feel that the foreground stones are very three-dimensional — far more so than the sample images for the three major planes earlier. That is because these stones are more finely rendered with the five tones."},{"t":"img","f":"img-14","w":640,"h":424},{"t":"p","x":"石头的“1”所在区域，是石头的高光部分，湿润的石头反光属性优秀，所以即使高光部分在后期被大大的提亮，也还是显得比较自然。而“2”标注部分，因为不是受到直接的光线照射，所以属于石头的亮灰部分。","b":false,"xe":"The area marked \"1\" on the stone is its highlight. The wet stone has excellent reflective properties, so even though the highlight was greatly brightened in post, it still looks natural. The part marked \"2,\" since it does not receive direct light, belongs to the stone's light-gray part."},{"t":"p","x":"画面中的“3”和“4”，标注的是石头没有受光的暗面。","b":false,"xe":"The marks \"3\" and \"4\" in the image indicate the stone's unlit dark planes."},{"t":"img","f":"img-15","w":640,"h":429},{"t":"p","x":"真正让上图中石头立体感进一步提升的，还是反光和投影。石头上“5”号区域，因为紧邻旁边石头的亮面，所以有一些轻微的反光。进一步强化突出反光，可以让石头立体感更加突出。","b":false,"xe":"What truly further enhanced the stones' three-dimensionality in the image above is the reflected light and cast shadows. Area \"5\" on the stone has some slight reflected light because it is close to the bright plane of the neighboring stone. Further strengthening the reflected light can make the stone's three-dimensionality stand out even more."},{"t":"p","x":"而“6”、“7”标注的，则是石头在旁边石头上的投影，投影的存在更是极大的提升了立体感。","b":false,"xe":"And what \"6\" and \"7\" mark are the stone's cast shadows on neighboring stones — the presence of cast shadows greatly enhances three-dimensionality."},{"t":"p","x":"理解了三大面五调子，摄影师就掌握了提升照片立体感的钥匙。运用加深减淡工具，后期塑造照片的立体感其实很简单。","b":true,"xe":"Once you understand the three major planes and five tones, you hold the key to enhancing a photo's three-dimensionality. Using the dodge-and-burn tools, sculpting a photo's three-dimensionality in post is actually quite simple."},{"t":"h","x":"3","xe":"3"},{"t":"h","x":"遮挡","xe":"Occlusion"},{"t":"p","x":"立体感是物体本身三维属性的体现。而层次感则更加复杂，需要通过物体间的关系，来表现他们的前后远近，从而表现物体间的三维属性。","b":false,"xe":"Three-dimensionality is the embodiment of an object's own three-dimensional attributes. Layering is more complex: it requires the relationships between objects to express their front-back and near-far order — thereby expressing the three-dimensional attributes among objects."},{"t":"p","x":"假设下面这张简化示例图，是我拍摄的一张照片。如果我告诉你右边绿色的山峰，实际在更远的地方，你很可能会觉得莫名其妙。","b":false,"xe":"Suppose the simplified diagram below is a photo I took. If I tell you the green mountain on the right is actually farther away, you would probably find it baffling."},{"t":"p","x":"这就是一张典型的缺乏层次感的照片，如果我们不在前期构图时采取一些措施，就很可能拍出这种很平的照片。","b":false,"xe":"This is a typical photo lacking a sense of layering. If we take no measures when composing in the field, we can easily end up with such a flat photo."},{"t":"img","f":"img-16","w":640,"h":393},{"t":"p","x":"那么有哪些手法可以表达空间感呢？","b":false,"xe":"So what techniques can express a sense of space?"},{"t":"p","x":"第一种方法非常的简单，叫做“遮挡”。也就是用一个物体遮住另外一个物体。这样读者就会明白，那个被挡住的、轮廓和整体不完整的物体，一定是在更靠后的位置。","b":false,"xe":"The first method is very simple: it's called \"occlusion\" — using one object to block another. This way the viewer understands that the blocked object, whose outline and whole are incomplete, must be in a farther position."},{"t":"p","x":"例如上面的情况，我可以往左边走个几公里，此时红色的山把绿色的山给挡住了。这样我拍出来的照片，山之间的层次关系就很明显了。","b":false,"xe":"For the situation above, for instance, I could walk a few kilometers to the left; then the red mountain blocks the green mountain. In the photo I take this way, the layering relationship between the mountains becomes obvious."},{"t":"img","f":"img-17","w":640,"h":393},{"t":"p","x":"在长焦摄影中，由于后面会讲的线性透视效应很不明显，因此遮挡就成了表达空间纵深的关键手法。","b":false,"xe":"In telephoto photography, since the linear-perspective effect discussed later is very weak, occlusion becomes the key technique for expressing spatial depth."},{"t":"img","f":"img-18","w":640,"h":445},{"t":"p","x":"上面这张长焦雪山照片，就是非常典型的通过“层层遮挡”来表达空间关系的例子。1标识的岩石，挡住了2处的云雾，云雾又遮住了3处的雪山，雪山又把背后蓝天遮挡。岩石、云雾、雪山、蓝天，通过层层递进、互相遮挡的方法，前后关系非常清晰。","b":false,"xe":"This telephoto snow-mountain photo above is a very typical example of expressing spatial relationships through \"layered occlusion.\" The rock marked 1 blocks the cloud and mist at 2; the cloud and mist in turn veil the snow mountain at 3; and the snow mountain blocks the blue sky behind it. Rock, mist, snow mountain, blue sky — through progressive mutual occlusion, the front-back order is very clear."},{"t":"img","f":"img-19","w":640,"h":445},{"t":"h","x":"4","xe":"4"},{"t":"h","x":"纵透视","xe":"Vertical Perspective"},{"t":"p","x":"除了遮挡，在古典绘画中，画家还常用纵透视的形式，来表达层次感。","b":false,"xe":"Besides occlusion, classical painters also often used vertical perspective to express layering."},{"t":"p","x":"所谓纵透视，就是近的放在画面低处，远的放在画面高处。在摄影中，要拍出纵透视效果很简单，只需登上高处，提升机位即可。","b":false,"xe":"Vertical perspective means placing near objects low in the frame and far objects high in the frame. In photography, achieving vertical perspective is simple: just climb to a high place and raise the camera position."},{"t":"p","x":"比如前面的情况，我可以爬到山上，或者放飞无人机，这样拍到的画面，红山在下，绿山在上，也会让读者理解这两座山的前后顺序。","b":false,"xe":"For the earlier situation, for example, I could climb up the mountain or fly a drone — in the resulting image the red mountain is below and the green mountain above, also letting the viewer understand the front-back order of the two mountains."},{"t":"img","f":"img-20","w":640,"h":393},{"t":"p","x":"比如下面这张圣托里尼的教堂和远处的小岛，就使用了纵透视。通过较高机位带来的景物纵向分布，来增加空间感。","b":false,"xe":"The photo below of a Santorini church with a distant island, for instance, uses vertical perspective: the vertical distribution of scenery brought by the higher vantage point increases the sense of space."},{"t":"img","f":"img-21","w":640,"h":964},{"t":"p","x":"当然，既然遮挡和纵透视都可以表达空间感，如果我们把这两者结合起来，照片的三维顺序就更加明白无误了。","b":false,"xe":"Of course, since both occlusion and vertical perspective can express a sense of space, if we combine the two, the photo's three-dimensional order becomes unmistakably clear."},{"t":"img","f":"img-22","w":640,"h":393},{"t":"p","x":"例如下图，蓝冰、黑色冰川、薄雾、远山和天空从下到上纵深排列，同时层层遮挡，虽然是平面的图像，我们也可以从纵透视和遮挡关系中，看出场景的立体空间感。","b":false,"xe":"In the image below, for example, blue ice, black glacier, thin mist, distant mountains, and sky are arranged in depth from bottom to top, with layers occluding one another. Although it is a flat image, we can read the scene's three-dimensional space from the vertical perspective and occlusion relationships."},{"t":"img","f":"img-23","w":640,"h":425},{"t":"p","x":"遮挡和纵透视都可以通过前期改变相机机位的方法来实现，摄影师在构图时不妨多加思考。","b":false,"xe":"Both occlusion and vertical perspective can be achieved in the field by changing the camera position — photographers might as well think more about this when composing."},{"t":"p","x":"例如要拍摄一片森林和后面的小山，如果我们在平地拍摄，低机位造成了物体互相遮挡，体现了一定前后关系，但纵深感表现不足。","b":false,"xe":"For example, to photograph a forest with a hill behind it: if we shoot on flat ground, the low vantage point causes the objects to occlude each other, showing some front-back relationship — but the sense of depth is insufficiently expressed."},{"t":"img","f":"img-24","w":640,"h":393},{"t":"p","x":"如果我们登上山顶高处，这样森林和山峰拍出来一上一下，纵深关系有了，但完全分离的景物，空间感还是差了一点。","b":false,"xe":"If we climb to the hilltop, the forest and the peak come out one below and one above — the depth relationship is there, but with completely separated scenery, the sense of space is still a bit lacking."},{"t":"img","f":"img-25","w":640,"h":393},{"t":"p","x":"最好的拍摄机位，可能是在半山腰不高不低的地方，既拍出了遮挡，又体现了纵透视，森林和小山的层次感提升了一个档次。","b":false,"xe":"The best camera position may be halfway up the hill — neither high nor low — capturing both occlusion and vertical perspective, raising the layering of forest and hill by a level."},{"t":"img","f":"img-26","w":640,"h":393},{"t":"p","x":"摄影中，并不是机位越低或者越高就更好的。恰到好处的构图，同时利用多种空间表现手法提升层次感，考验了摄影师的前期功力。","b":false,"xe":"In photography, a lower or higher camera position is not necessarily better. An apt composition that uses multiple spatial expression techniques to enhance layering tests the photographer's skill in the field."},{"t":"p","x":"再来仔细对比观察一下下图，或许你就能理解摄影以及绘画中，遮挡和纵透视的精妙效果了。","b":false,"xe":"Now compare and observe the image below carefully — perhaps you will understand the exquisite effect of occlusion and vertical perspective in photography and painting."},{"t":"img","f":"img-27","w":640,"h":480},{"t":"h","x":"5","xe":"5"},{"t":"h","x":"线性透视","xe":"Linear Perspective"},{"t":"p","x":"在文艺复兴之后的西方艺术中，线性透视在绘画里大量的被应用，直接导致国外摄影师在拍摄时，很喜欢用大广角构图，突出线性透视的方式来表达空间层次。","b":false,"xe":"In Western art after the Renaissance, linear perspective was heavily applied in painting — which directly led foreign photographers to favor wide-angle compositions when shooting, highlighting linear perspective to express spatial layering."},{"t":"p","x":"线性透视，简而言之讲就是“近大远小”，原本平行的线条，在向远方延伸时会不断的会聚，直到在灭点处汇合成一个小点。","b":false,"xe":"Linear perspective, in short, is \"near big, far small\": originally parallel lines keep converging as they extend into the distance, until they meet as a small point at the vanishing point."},{"t":"img","f":"img-28","w":1000,"h":603},{"t":"p","x":"在摄影中，我们常用汇聚线、重复缩小以及夸张前景这3种方式，利用镜头（特别是广角镜头）来突出线性透视下的前中后景层次。","b":false,"xe":"In photography, we commonly use three methods — converging lines, repeating diminution, and exaggerated foreground — using lenses (especially wide-angle lenses) to emphasize the foreground-middle-background layering of linear perspective."},{"t":"h","x":"5.1","xe":"5.1"},{"t":"h","x":"汇聚线","xe":"Converging Lines"},{"t":"p","x":"汇聚线的拍摄，就是要利用场景中向远方延伸会聚的线性物体，来突出空间感。","b":false,"xe":"Shooting converging lines means using linear objects in the scene that extend and converge into the distance to emphasize the sense of space."},{"t":"p","x":"例如下面这张大白天顺光拍摄的图片，虽然光影立体感不强，但是这条向远方不断延伸会聚的小路，却给照片带来了纵深感。","b":false,"xe":"For example, in the image below — shot in broad daylight with front light — although the light-and-shadow three-dimensionality is not strong, this path extending and converging into the distance brings a sense of depth to the photo."},{"t":"img","f":"img-29","w":640,"h":425},{"t":"p","x":"道路，河流，桥等等，都是天然的汇聚线，在前期构图时取入他们，不仅可以拍出引导线，还能极大的提高照片的层次感。","b":false,"xe":"Roads, rivers, bridges, and so on are all natural converging lines. Including them when composing in the field not only creates leading lines, but also greatly improves the photo's layering."},{"t":"h","x":"5.2","xe":"5.2"},{"t":"h","x":"重复缩小","xe":"Repeating Diminution"},{"t":"p","x":"线性透视的一大表现，就是近大远小。因此如果我们在构图的时候，特别是广角拍摄前景时，如果能发现一些重复的物体。那么这些重复的物体，会在画面中，由近到远的不断缩小，就可以表现出空间感了。","b":false,"xe":"A major manifestation of linear perspective is near-big-far-small. So when composing — especially when shooting a foreground with a wide-angle lens — if we can find some repeating objects, those repeating objects will shrink continuously from near to far in the frame, expressing the sense of space."},{"t":"p","x":"例如下图，我在构图时取入了一大片灌木，这些原本差不多的枝叶，在画面中却是不断变小的，这样读者就能感受到这个不断向远方延伸的三维空间。","b":false,"xe":"In the image below, for example, I included a large patch of shrubs in the composition: these branches and leaves, originally similar in size, keep shrinking in the frame — so the viewer can feel the three-dimensional space continuously extending into the distance."},{"t":"img","f":"img-30","w":666,"h":1000},{"t":"p","x":"下面这张图，前后景的实际距离不过十来米，但是在广角的作用下。重复的正方形鸟居，不断的变小，这样我用重复缩小的方法，结合鸟居的互相遮挡以及小路的汇聚线效果，很好的体现出了照片的空间感。","b":false,"xe":"In the image below, the actual distance between foreground and background is only a dozen meters, but under the effect of the wide angle, the repeating square torii gates keep shrinking. Using the method of repeating diminution combined with the torii's mutual occlusion and the converging-line effect of the path, I well expressed the photo's sense of space."},{"t":"img","f":"img-31","w":640,"h":425},{"t":"p","x":"只要善于发现，自然和生活场景中，有很多不断重复的物体。在前景中加以利用，空间感自然而然的就表现了出来。","b":false,"xe":"As long as you are good at discovering, there are many continuously repeating objects in nature and in life scenes. Make use of them in the foreground, and the sense of space is naturally expressed."},{"t":"h","x":"5.3","xe":"5.3"},{"t":"h","x":"夸张前景","xe":"Exaggerated Foreground"},{"t":"p","x":"在摄影中，摄影师常常采用低角度、接近拍摄的方式，利用近大远小的线性透视，夸张的表现前景物体大小，从而让观众理解物体间的前后关系。","b":false,"xe":"In photography, photographers often shoot from a low angle up close, using the near-big-far-small of linear perspective to exaggerate the size of foreground objects — thereby letting the audience understand the front-back relationships between objects."},{"t":"p","x":"比如下图，低角度拍出来的前景礁石，竟然比画面右上角的人还大。这种错位的大小关系，让读者立马就理解了他们的前后空间顺序。","b":false,"xe":"In the image below, for example, the foreground reef shot from a low angle is actually bigger than the person in the upper right of the frame. This misplaced size relationship lets the viewer immediately understand their front-back spatial order."},{"t":"img","f":"img-32","w":640,"h":425},{"t":"p","x":"夸张前景的关键，是要找到原来相对较小的物体，通过透视，让其在画面中表现得和背景中原本较大的物体更大或者差不多大。通过画面表现和人类认知的错位关系，才能体现出透视空间感。","b":false,"xe":"The key to an exaggerated foreground is finding an originally relatively small object and, through perspective, making it appear in the frame as large as — or larger than — an originally larger object in the background. Only through the mismatch between the picture's presentation and human cognition can the perspective sense of space be expressed."},{"t":"img","f":"img-33","w":668,"h":1000},{"t":"p","x":"如果你的照片中，建筑很大，汽车很小，符合人类的认知，那么这种关系是很难让人看出他们的前后距离的。","b":false,"xe":"If in your photo the buildings are big and the cars small — matching human cognition — then this relationship can hardly let people perceive their front-back distance."},{"t":"p","x":"只有如下图一样，帐篷、雪山、银河这些大小千差万别的物体，在画面中却表现出差不多甚至相反的大小比例时，人们才能认知出他们的空间前后顺序。","b":false,"xe":"Only when, as in the image below, objects of vastly different sizes — tent, snow mountain, Milky Way — appear in the frame at similar or even reversed size proportions can people recognize their spatial front-back order."},{"t":"img","f":"img-34","w":640,"h":423},{"t":"p","x":"《冰川之夜》，作者：托马斯，thomaskksj.tuchong.com","b":false,"xe":"\"Night of the Glacier,\" author: Thomas, thomaskksj.tuchong.com"},{"t":"h","x":"6","xe":"6"},{"t":"h","x":"空气感","xe":"Aerial Atmosphere"},{"t":"p","x":"在绘画中，画家也常常使用一种叫做空气感的东西来表达层次。比如近处的物体会画的清晰、鲜艳、锐利一些，远处的物体，会画的朦胧、淡雅、模糊一些。","b":false,"xe":"In painting, painters also often use something called aerial atmosphere to express layering. For example, nearby objects are painted clearer, more vivid, and sharper, while distant objects are painted hazier, softer, and more blurred."},{"t":"p","x":"在前期拍摄时，我们可以利用空气中自然的颗粒（比如清晨的雾气、中午山间的水汽、城市的雾霾等等），自然而然的拍出空气感。","b":false,"xe":"When shooting in the field, we can use natural particles in the air — morning mist, midday mountain vapor, urban haze, and so on — to naturally capture aerial atmosphere."},{"t":"img","f":"img-35","w":1000,"h":347},{"t":"p","x":"在后期中，我们也常常对远处的景物进行减清晰度、经典柔化、高斯模糊甚至后期添加云雾的方式，来营造空气感，从而增加照片的层次立体表现力。","b":false,"xe":"In post, we also often reduce clarity on distant scenery, apply classic softening or Gaussian blur, or even add clouds and mist in post, to create aerial atmosphere — thereby increasing the photo's layered, three-dimensional expressiveness."},{"t":"img","f":"img-36","w":640,"h":428},{"t":"h","x":"7","xe":"7"},{"t":"h","x":"综合应用","xe":"Combined Application"},{"t":"p","x":"为了一张照片空间感十足，我们常常会结合应用三大面、五调子、遮挡、纵透视、线性透视、空气感的相关技术。","b":false,"xe":"To make a photo full of spatial sense, we often combine the techniques of the three major planes, five tones, occlusion, vertical perspective, linear perspective, and aerial atmosphere."},{"t":"p","x":"下面的这些照片中，你能看出来都用了哪些方法吗，欢迎大家留言讨论。","b":false,"xe":"In the photos below, can you tell which methods were used? Feel free to leave a comment and discuss."},{"t":"p","x":"1","b":false,"xe":"1"},{"t":"img","f":"img-37","w":1000,"h":1000},{"t":"p","x":"2","b":false,"xe":"2"},{"t":"img","f":"img-38","w":640,"h":428},{"t":"p","x":"3","b":false,"xe":"3"},{"t":"img","f":"img-39","w":640,"h":428}],"titleEn":"Five Tricks to Give Your Photos Depth and Dimension"}