{"slug":"explore-compositions-locations","title":"这些风光构图是如何发现的？摄影机位探索教程来啦！","author":"Thomas看看世界","date":"2021-03-21","wechat":"https://mp.weixin.qq.com/s?__biz=MzI4NDA5MzE5NQ==&mid=2247492902&idx=1&sn=6769446b526669353df588920cfac049&chksm=eb821b42dcf592547efec0e5d388bb059b660c2ae6b92109e5f8320dfc0b974a134d118921da&scene=21#wechat_redirect","blocks":[{"t":"h","x":"Thomas看看世界","xe":"Thomas Chu Photo"},{"t":"p","x":"科技的进步带来了工作效率的提高，在风景摄影领域也是如此。","b":false,"xe":"Technological progress boosts work efficiency — and landscape photography is no exception."},{"t":"p","x":"经常有朋友好奇，我是如何经常能够发现一些新颖的构图、找到一些不寻常的机位的？","b":false,"xe":"Friends often ask how I keep discovering fresh compositions and unusual vantage points."},{"t":"img","f":"img-02","w":1080,"h":720},{"t":"p","x":"在今天的视频教程中，Thomas就会用4个案例，和大家实战分享无人机在机位发现和风景探索中的应用。","b":false,"xe":"In today's video tutorial, Thomas uses four case studies to show how drones help with location scouting and landscape exploration."},{"t":"img","f":"img-03","w":1080,"h":608},{"t":"h","x":"视频教程","xe":"Video Tutorial"},{"t":"bili","bv":"BV1ZN411Q7At","bpic":"bili-1","bt":"这些风光大片的构图是如何找到的？机位探索教程来啦！"},{"t":"p","x":"这一篇是上面视频的完整图文整理。视频开头那组大片其实都是手机和相机在地面上拍的——但每个机位，都是 Thomas 先用无人机在空中「侦查」出来的。本期他用四个实战案例（西藏日出、来古冰川冰洞、川藏线七十二拐星空、冰湖纹理），完整演示了这套无人机机位探索思路。","xe":"This is the fully illustrated companion to the video above. The photos in the intro were all shot on the ground with phones and cameras — yet every one of those locations was first scouted from the air with a drone. In this episode Thomas walks through four real cases — a Tibetan sunrise, a Laigu Glacier ice cave, star trails over the 72 Bends of the Sichuan-Tibet highway, and textures on a frozen lake — to demonstrate his complete drone-based location scouting workflow.","b":false},{"t":"p","x":"先看大纲。下面这张要点页截自视频 0:31 处，四个案例各自对应一类机位场景：日出机位、冰川机位、道路夜景机位、冰湖日景机位，时间轴也标得一清二楚，下文按同样顺序展开。","xe":"Start with the outline: this summary slide, captured at 0:31 in the video, lines up the four cases — a sunrise location, a glacier location, a night-road location, and a daytime frozen-lake location, each with its own time code. They are unpacked below in the same order.","b":false},{"t":"img","f":"v01","w":852,"h":480},{"t":"h","x":"01 核心原则：先远景、再中景、后前景","xe":"01 The Core Rule: Background First, Then Midground, Foreground Last"},{"t":"p","x":"用无人机寻找机位，Thomas 遵循一个固定的顺序：先找远景，再找中景，最后找前景（视频 1:14 处）。道理在于远景——比如山峰——基本是固定的，你站在一个地方它不会变；所以先在空中确定远景的最佳角度，再去找中景，最后补前景，搜索效率最高。","xe":"When scouting with a drone, Thomas follows a fixed order: find the background first, then the midground, and the foreground last (at 1:14 in the video). The logic is that the background — a mountain range, say — is fixed: it will not change no matter where you stand. Locking the best background angle from the air first makes the whole search efficient.","b":false},{"t":"p","x":"每一层也各有自己的「候选清单」：远景是山峰、云雾、建筑、光线；中景是河流、草原、森林、村庄；前景则是花草、岩石、冰面、人物（视频 1:16 处）。空中侦查时按清单逐层配对，一张照片的骨架就搭出来了。","xe":"Each layer has its own candidate checklist: peaks, mist, buildings and light for the background; rivers, grasslands, forests and villages for the midground; flowers, rocks, ice and people for the foreground (at 1:16 in the video). Pair the layers against these lists while scouting in the air, and the skeleton of a photograph takes shape.","b":false},{"t":"img","f":"v02","w":852,"h":480},{"t":"img","f":"v03","w":852,"h":480},{"t":"h","x":"02 日出机位案例：西藏拉曲","xe":"02 Case One: A Sunrise Composition in Laqu, Tibet"},{"t":"p","x":"第一个案例在西藏拉曲。Thomas 本来是去拍山下的藏传佛教寺庙，把 Mini 2 飞起来后，按习惯先往旁边飞一圈，看看有没有别的构图（视频 0:54 处）。环视中他先确认远处的雪山足够立体、有层次，接着看到山坡上的小牧场可当中景，山坡本身和上面的花草则可以留给前景（视频 1:40 处）。","xe":"The first case is in Laqu, Tibet. Thomas had come to photograph a Tibetan Buddhist monastery at the foot of the mountain, but once the Mini 2 was airborne he flew off to the side first, as always, to check for other compositions (at 0:54 in the video). Sweeping the horizon, he confirmed the distant snow mountains were dimensional and layered, spotted small pastures on the hillside as a midground, and marked the slope itself — and the flowers it might hold later — as foreground material (at 1:40 in the video).","b":false},{"t":"img","f":"v04","w":852,"h":480},{"t":"p","x":"接着他把无人机原地转了 360 度，看周边哪边的雪山最漂亮——发现中间一座黄色的山峰很尖、两边衬着连绵雪山的方向最好（视频 2:13 处）；再往前飞，又找到一条可以作为引导线的河流，远景和中景就此齐了（视频 2:25 处）。","xe":"He then yawed the drone through a full 360 degrees to see which direction held the most beautiful mountains — and found it: a sharp yellow peak in the center flanked by rolling snow ranges (at 2:13 in the video). Flying forward, he discovered a river that could serve as a leading line, and with that, both background and midground were secured (at 2:25 in the video).","b":false},{"t":"p","x":"前景反而最难。因为是冬天，牧场光秃秃的，以它为前景就得搭个帐篷或站个人；后来他注意到远处有些石头——这个机位可以拿石头当前景，人站上去即可，甚至可以爬到石头上，走近了石头还有纹理和层次，拍出来又是另一种感觉（视频 2:35 处）。最终的成片，就是第二天早上爬上那块石头完成的（视频 3:05 处）。","xe":"The foreground proved hardest. Being winter, the pastures were bare — using one would mean pitching a tent or placing a person in frame. Then he noticed rocks in the distance: from this position a rock could carry the foreground with a person standing on it, and up close the rock itself had texture and layering that would give the shot yet another feel (at 2:35 in the video). The final image was made the next morning, after climbing onto that very rock (at 3:05 in the video).","b":false},{"t":"img","f":"v05","w":852,"h":480},{"t":"img","f":"v06","w":852,"h":480},{"t":"h","x":"03 冰川机位案例：先缩小搜索范围","xe":"03 Case Two: Laigu Glacier — Narrow the Search First"},{"t":"p","x":"第二个案例是来古冰川的冰洞。冰湖冬天整个冻住，面积很大，如果不用无人机提前把搜索范围缩小，人再去找冰洞是非常非常难找的（视频 3:19 处）。Thomas 的做法是直接飞上天：先扫一个大概的范围，再锁定那些重点冰块（视频 3:35 处）。","xe":"The second case is an ice cave on the Laigu Glacier. The frozen lake freezes over whole and vast — without a drone to shrink the search area beforehand, finding an ice cave on foot is nearly hopeless (at 3:19 in the video). Thomas simply flew up: sweep a rough perimeter first, then lock onto the promising ice blocks (at 3:35 in the video).","b":false},{"t":"img","f":"v07","w":852,"h":480},{"t":"p","x":"什么样的冰块底下会有冰洞？判断标准出奇地简单：只要有一个反斜面就 OK 了——下面凹进去、上面凸出来（视频 3:56 处）。视频 4:05 处箭头所指的几处冰川都符合这个特征、有潜力；比如这一块，上方明显凸出很多，人趴到它下面，用广角镜头就能拍出冰洞的效果（视频 4:15 处）。","xe":"Which blocks hide a cave underneath? The test is remarkably simple: look for an overhang — hollowed in below, bulging out on top (at 3:56 in the video). The glaciers the arrows point to at 4:05 all show this trait and are worth a look; one block in particular bulges far out above, and lying under it with a wide-angle lens produces exactly the ice-cave effect (at 4:15 in the video).","b":false},{"t":"img","f":"v08","w":852,"h":480},{"t":"h","x":"04 道路夜景机位案例：七十二拐星空车轨","xe":"04 Case Three: Star Trails over the 72 Bends"},{"t":"p","x":"第三张拍的是川藏线上的七十二拐。很多人都在观景台上拍它的大全景，照片很漂亮，但稍微有点千篇一律，而且画面稍稍有点乱（视频 4:41 处）。Thomas 还是让无人机先飞，第一个动作依旧是看周边远景——哪个角度、哪个方向最好（视频 4:51 处）。","xe":"The third image is of the 72 Bends on the Sichuan-Tibet highway. Everyone shoots the grand panorama from the viewing platform; the photos are beautiful but a bit interchangeable, and the scene itself reads slightly messy (at 4:41 in the video). Thomas flew the drone as usual, and the first move was again to study the surrounding background — which angle, which direction worked best (at 4:51 in the video).","b":false},{"t":"img","f":"v09","w":852,"h":480},{"t":"p","x":"淘汰过程很直观：这个角度周边都是土山、而且太近，不好；如果以某个弯道做前景，背后的背景又是一个大土坡，也没意思（视频 4:58 处）。最终他把远景定在远处那片有层次、比较尖的雪山群上，然后依葫芦画瓢找近景——最好这条弯道正好朝着远处的雪山（视频 5:15 处）。","xe":"The elimination is visual: the nearby hills in this direction are bare dirt mountains, too close — no good; pick a bend as foreground and the backdrop is another big dirt slope — pointless (at 4:58 in the video). He settled on the distant cluster of sharp, layered snow mountains as his background, then hunted the near field to match — ideally a bend pointing straight at those peaks (at 5:15 in the video).","b":false},{"t":"img","f":"v10","w":852,"h":480},{"t":"p","x":"有了远景，搜索范围就缩小到了左下角和右边两个弯道，分别用无人机「踩点」后发现：右边的弯道有个斜坡，三脚架可以架上去（视频 5:44 处）；再用手机查一下当晚银河的方位，正好从雪山上平行划过（视频 5:51 处）——角度、地景、天象三者对上了。","xe":"With the background fixed, the candidates narrowed to two bends, lower-left and right. Scouting each with the drone, he found the right bend had a slope where a tripod could stand (at 5:44 in the video); checking the Milky Way's position in an app, it would sweep parallel right over the snow mountains that night (at 5:51 in the video) — angle, landform, and sky aligned.","b":false},{"t":"img","f":"v11","w":852,"h":480},{"t":"p","x":"晚上的执行很朴素：把车停在点位附近一个安全的地方，徒步爬上那个斜坡，最终拍下了这张车轨与星空的照片（视频 6:05 处）。白天用无人机十分钟完成的侦查，决定了晚上几个小时拍摄的全部质量。","xe":"The night execution was unglamorous: park the car somewhere safe near the point, hike up the slope, and shoot the light trails against the starry sky (at 6:05 in the video). Ten minutes of drone scouting in daylight decided the entire quality of the hours spent shooting at night.","b":false},{"t":"img","f":"v12","w":852,"h":480},{"t":"h","x":"05 冰湖日景机位案例：落地先飞一圈","xe":"05 Case Four: Frozen Lake by Day — Fly First, Walk Later"},{"t":"p","x":"最后一个案例是一张冰湖雪山的照片。Thomas 谈到一个习惯：到了一个点，先把无人机飞起来，去周边看看，寻找最佳机位（视频 6:25 处）。他先往左边飞——看看有没有植物之类的前景，结果发现那边是一片荒滩；那么左边就不用再徒步去搜索了，重点直接放在右侧有雪的区域（视频 6:44 处）。一次几分钟的飞行，避免了一趟无用的徒步。","xe":"The final case is a frozen-lake-and-mountains photo, built on a habit: on arriving anywhere, fly the drone first and look around for the best camera position (at 6:25 in the video). He sent it left first to check for plants or other foreground — and found nothing but barren flats. So no walking search on that side at all; the focus went straight to the snowy ground on the right (at 6:44 in the video). A few minutes of flying saved a pointless hike.","b":false},{"t":"img","f":"v13","w":852,"h":480},{"t":"p","x":"因为人少，他把无人机压到 10 米左右的低空仔细侦查，安全性也有保证（视频 6:58 处）。低空下逐一排查前景：有没有结冰的湖面、有没有好的纹理；途中发现一棵枯树，实话实说「马马虎虎」，只能当实在没有更好前景时的备胎（视频 7:13 处）。","xe":"With few people around, he brought the drone down to about 10 meters for a close inspection, well within safe practice (at 6:58 in the video). At low altitude he audited the foreground candidates one by one: any frozen lake surface, any good texture? A dead tree turned up — honestly, \"so-so,\" a fallback only if nothing better appeared (at 7:13 in the video).","b":false},{"t":"p","x":"继续往前找，他发现水边有些地方已经结冰，这些冰面用无人机低空观察，已经能看到纹理（视频 7:33 处）。最终他就在结冰的湖面上，以这些天然纹理为前景完成了拍摄（视频 7:44 处）——无人机找到的纹理视角，成了这张照片的支点。","xe":"Pushing on, he spotted ice forming along the water's edge; from the drone's low pass, the frozen surface already showed texture (at 7:33 in the video). The final frame was made right on the ice, with those natural patterns as the foreground (at 7:44 in the video) — a texture found from the air became the fulcrum of the photo.","b":false},{"t":"img","f":"v14","w":852,"h":480},{"t":"h","x":"06 总结：无人机是风光摄影的侦查兵","xe":"06 Wrap-up: The Drone as a Scouting Tool"},{"t":"p","x":"无人机在当下风光摄影中的价值，Thomas 归纳为两层。第一层是它本身的航拍能力：完全与众不同的视角、俯瞰式的构图（视频 7:56 处）。第二层更重要——无论最终用航拍机位还是地面机位，无人机都是一种现代化的侦查方式：用它探索当地地形，找到一个更好的角度，去搜寻那些全新的、没有其他人拍过的创新机位（视频 8:04 处）。","xe":"Thomas sums up the drone's value to landscape photography in two layers. The first is aerial photography itself: a completely different perspective, bird's-eye compositions (at 7:56 in the video). The second matters more: whether the final shot comes from the air or the ground, the drone is a modern scouting instrument — one that maps local terrain, finds better angles, and turns up fresh, never-photographed locations (at 8:04 in the video).","b":false},{"t":"p","x":"值得一提的是，这四个案例的侦查和航拍，用的都是新出的迷你二代——DJI Mini 2 这样的小无人机（视频 8:27 处）。机位探索这件事，装备门槛其实不高，思路才是关键：先远景、再中景、后前景，到了地方先飞一圈。","xe":"Worth noting: all four cases were scouted and flown with the new compact DJI Mini 2 (at 8:27 in the video). The gear bar for location scouting is low — the method is what counts: background, midground, foreground, in that order, and always fly a lap first when you arrive.","b":false},{"t":"quote","x":"1. 找机位的铁律：先远景、再中景、后前景，每层都有自己的候选清单；2. 大范围先扫、重点再锁——冰洞的判断标准是反斜面：下面凹进去、上面凸出来；3. 机位靠淘汰：远景定调后核对弯道朝向、能否架三脚架、银河方位，三者对上才值得夜里去；4. 到点先飞一圈：探明死路、锁定重点区，再把无人机压到 10 米低空查前景纹理。","xe":"1. The iron rule of scouting: background first, then midground, foreground last — each layer with its own candidate checklist; 2. Sweep wide, then lock onto targets — an ice cave hides under an overhang: hollow below, bulging above; 3. Locations are chosen by elimination: fix the background, then verify the bend's facing, tripod-able ground, and Milky Way azimuth before committing to a night shoot; 4. Fly a lap on arrival: map the dead ends, lock the promising zone, then drop to 10 meters to inspect foreground texture.","b":false}],"titleEn":"How Are These Landscape Compositions Found? A Location-Scouting Tutorial"}