{"slug":"imitation-in-photography","title":"如何看待摄影中的模仿？怎样模仿才能真正提高自己的拍摄水平？","author":"Thomas看看世界","date":"2020-05-31","wechat":"https://mp.weixin.qq.com/s?__biz=MzI4NDA5MzE5NQ==&mid=2247490615&idx=1&sn=bd3e72c4f43d79d7fb6c76bdcc0db91a&chksm=eb81e253dcf66b4540e61b299ba0c31040f896ddba77f24e0172e391390fd4cf8bbdbc39532d&scene=21#wechat_redirect","blocks":[{"t":"h","x":"Thomas看看世界","xe":"Thomas Chu Photo"},{"t":"p","x":"模仿是摄影中的一个争议性话题，有的人对此嗤之以鼻，有的人认为模仿是摄影学习的一个必要阶段。","b":false,"xe":"Imitation is a controversial topic in photography — some people scoff at it, while others see it as a necessary stage of learning."},{"t":"img","f":"img-02","w":1080,"h":608},{"t":"p","x":"本视频会探讨以下问题：","b":false,"xe":"This video explores the following questions:"},{"t":"p","x":"模仿是学习摄影的好方法还是坏办法？","b":false,"xe":"Is imitation a good or bad way to learn photography?"},{"t":"p","x":"模仿是简单的复制吗？如何做到不仅形似而且神似？","b":false,"xe":"Is imitation just simple copying? How do you capture not only the form but also the spirit?"},{"t":"p","x":"怎样模仿才能快速提高自己的摄影水平？","b":false,"xe":"How should you imitate to improve your photography quickly?"},{"t":"p","x":"为什么说模仿的最高境界是融合？","b":false,"xe":"Why is fusion the highest realm of imitation?"},{"t":"h","x":"视频教程","xe":"Video tutorial"},{"t":"bili","bv":"BV1wf4y127cg","bpic":"bili-1","bt":"模仿是摄影学习的好方法吗？如何模仿才能真正提升拍摄水平？"},{"t":"p","b":false,"x":"这一篇是上面视频的完整图文整理。Thomas 用自己在菲茨罗伊、印尼火山、多洛米蒂和格陵兰的亲身创作案例，把「模仿」这个争议话题讲成了一条清晰的学习路径：从形似到神似，再到融合。下文配有关键帧截图与视频时刻索引，适合先读文字建立框架，再到视频里听细节。","xe":"This is the fully illustrated companion to the video above. Using his own work from Fitz Roy in Patagonia, the Indonesian volcanoes, the Dolomites and Greenland, Thomas turns the controversial topic of imitation into a clear learning path: from formal copying to capturing the spirit, and finally to fusion. Keyframe screenshots and video timestamps are included — skim here for the framework, then dive into the video for the details."},{"t":"p","b":false,"x":"先看总览。这张要点页截自视频 0:11 处，是整期视频要回答的四个问题：模仿是好方法还是坏办法？如何做到不仅形似而且神似？怎样模仿才能快速提高？为什么说模仿的最高境界是融合？下文逐一展开。","xe":"Start with the overview. This slide, captured at 0:11 in the video, lists the four questions the whole video answers: is imitation good or bad? How do you go beyond formal similarity to spiritual similarity? How does imitation speed up improvement? And why is fusion its highest form? Each is unpacked below."},{"t":"img","f":"v01","w":852,"h":480},{"t":"h","x":"01 模仿的三个阶段：形似、神似、融合","xe":"01 The Three Stages of Imitation: Form, Spirit, Fusion"},{"t":"p","b":false,"x":"模仿并不是简单的复制。Thomas 把它分成三个阶段（视频 0:59 处）：第一阶段是形似——完全去复制摄影师的构图、角度和色彩；第二阶段是神似——真正理解摄影师的思路和想法之后，在他没去过的地方，你也能进行同样水准的创作；第三阶段是融合——把很多摄影师的优点和特点集中到一起，再结合自己的创新，形成真正属于你的作品。","xe":"Imitation is not mere copying. Thomas breaks it into three stages (at 0:59 in the video). Stage one is form — reproducing a photographer's composition, angle and color exactly. Stage two is spirit — once you truly understand the photographer's thinking, you can create work of the same caliber in places they have never been. Stage three is fusion — gathering the strengths and signatures of many photographers, adding your own innovation, and forming work that is genuinely yours."},{"t":"img","f":"v02","w":852,"h":480},{"t":"p","b":false,"x":"形似是初级阶段，但对刚起步的学习非常有用：一开始你对画面、构图、色彩都没有概念，模仿经典作品是快速提升的办法。不过如果长期停留在形似，本质上就是长期抄袭一个摄影师——这也是模仿常常被人诟病的原因（视频 1:26 处）。最简单的打卡照、经典角度，就属于形似层面的模仿。","xe":"Form is the beginner stage, and genuinely useful: at the start you have no feel for framing, composition or color, and copying classics is a fast way to improve. But staying at the form stage long-term is, in effect, plagiarizing one photographer — which is exactly why imitation gets a bad name (at 1:26 in the video). The simplest check-in shots at classic angles all belong to this level."},{"t":"h","x":"02 形似的练习：在菲茨罗伊模仿马克·亚当斯","xe":"02 Practicing Form: Imitating Marc Adamus at Fitz Roy"},{"t":"p","b":false,"x":"第一个案例来自南美巴塔哥尼亚的菲茨罗伊峰。Thomas 现场复刻了马克·亚当斯（Marc Adamus）的一张秋树作品（视频 2:24 处）。同样是照抄角度，过程却让他看清了很多东西：这个场景里，亚当斯选的这棵树确实是数一数二的前景——树的形态、位置和指向都非常好，到了真实环境，他才确认这个选择背后的道理。","xe":"The first case comes from Mount Fitz Roy in Patagonia. Thomas recreated one of Marc Adamus's autumn-tree frames on location (at 2:24 in the video). Even though this is pure angle-copying, the process taught him a lot: in this scene Adamus's tree really is one of the very best foregrounds — its shape, position and pointing direction are all excellent. Only standing in the real environment confirmed the reasoning behind that choice."},{"t":"img","f":"v03","w":852,"h":480},{"t":"img","f":"v04","w":852,"h":480},{"t":"p","b":false,"x":"后期同样可以照着推理。原图的树叶暗淡，亚当斯对树叶做了提升，Thomas 也做了——但不是全部提升：边缘的树叶再提亮会抢视线，所以只提中间部分，代价是树叶之间饱和度、明度不一致的问题（视频 2:58 处）。简单照抄角度，能让你到点就拍出一张不错的作品；而在构图与后期的逐步推理中，你会发现「原来树叶还可以单独提升」这样的思考——这种模仿，本身就是极好的学习过程。","xe":"The edit can be reasoned out the same way. The leaves in the original are dull; Adamus lifted them, and so did Thomas — but not all of them: brightening the edge leaves steals attention, so he lifted only the center, accepting slightly inconsistent saturation and brightness between leaves (at 2:58 in the video). Copying the angle gets you a decent shot on the spot; but reasoning step by step through composition and post, you discover thoughts like 'the leaves can be lifted on their own' — that kind of imitation is superb learning in itself."},{"t":"h","x":"03 逆光的追问：拆解 Max Rive 的选择","xe":"03 Questioning the Backlight: Decoding Max Rive's Choices"},{"t":"p","b":false,"x":"第二个案例是 Max Rive 的一张逆光河谷人物照。为什么这个场景一定要用逆光拍？Thomas 前一天傍晚去观察时发现，如果是顺光或侧光，这片水是黑黑的，根本不会从画面中「拖影而出」，更没有这种线条感和层次感（视频 4:16 处）——这就是模仿带来的追问。","xe":"The second case is a backlit river-valley shot with a human figure by Max Rive. Why does this scene demand backlight? When Thomas scouted it the evening before, he saw that under front or side light the water turns near-black, never trailing out of the frame, losing all line and layering (at 4:16 in the video) — exactly the kind of question imitation makes you ask."},{"t":"img","f":"v05","w":852,"h":480},{"t":"img","f":"v06","w":852,"h":480},{"t":"p","b":false,"x":"追问还可以继续：为什么人要站在那个位置、摆这个姿势？后期里人物是做成剪影，还是把细节提亮？试过就知道，把人体提亮、层次做精细，反而会失去画面的氛围感和层次感；山体边缘的立体感，他又做了怎样的渲染？（视频 4:44 处）把这些都想明白，形似的模仿就完成了它的使命。","xe":"Keep asking: why does the person stand right there, in that pose? In post, should the figure stay a silhouette or be lifted with detail? Try it and you'll see that brightening the figure and refining its texture only kills the atmosphere and depth; and how did he render the dimensional edge of the mountain? (at 4:44 in the video.) Answering these questions is how form-level imitation earns its keep."},{"t":"h","x":"04 神似：把思路迁移到全新场景","xe":"04 Capturing the Spirit: Carrying the Ideas into New Scenes"},{"t":"p","b":false,"x":"形似之上，如果你能总结规律、分析原因，理解摄影师背后的选择与思考——为什么拍、为什么这样拍、画面为什么这样布置——就可以在全新的环境中也拍出类似风格的作品，甚至进行个性化的改动和创新，这就更进一步做到了神似（视频 5:14 处）。","xe":"Above form comes spirit: if you can summarize the patterns, analyze the causes, and understand the choices behind a photographer's work — why shoot it, why shoot it this way, why arrange the frame like this — you can produce work of similar character in completely new environments, even with personal twists and innovations (at 5:14 in the video)."},{"t":"p","b":false,"x":"第一个神似的例子：Thomas 反复研究 Max Rive 用树做框架构图、做指向性引导线的作品之后，把「找一棵树」的思路带到了印尼。他在火山前找到一棵生命感十足的冠状树——树干搭出框架，枝梢正好指向远处的火山，形成视觉引导；后期压暗周边、提亮中间，再提升树的立体感、细节和质感，把树与背景做层次分离（视频 6:20 处）。没有对原作的深度学习，到了现场他不会有这个意识。","xe":"A first spirit-stage example: after repeatedly studying how Max Rive uses trees as framing devices and directional leading lines, Thomas carried the 'find a tree' idea to Indonesia. In front of a volcano he found a gnarled, full-of-life crowned tree — its trunk builds the frame and its branches point straight at the distant volcano, forming a visual guide; in post he darkened the edges, brightened the center, lifted the tree's dimension, detail and texture, and separated it from the background (at 6:20 in the video). Without that deep study of the original, he would never have had the awareness on site."},{"t":"img","f":"v07","w":852,"h":480},{"t":"p","b":false,"x":"第二个例子关乎色彩。Max Rive 的照片为什么特别有视觉冲击力？一个重要原因是：整体冷色调的画面里，日照金山的暖调雪山被衬托得极其突出。于是 Thomas 拍摄时把原本灰白色的天空刻意调成了冷色，金色的雪山一下子就从冷色天空中凸显出来（视频 7:42 处）。","xe":"The second example is about color. Why do Max Rive's photos hit so hard? Part of the answer: warm, sunlit peaks glowing inside overall cold tones. Thomas applied the same logic, deliberately grading an originally gray-white sky cold — and the golden snow mountain immediately leapt out of the frame (at 7:42 in the video)."},{"t":"img","f":"v08","w":852,"h":480},{"t":"p","b":false,"x":"第三个例子在多洛米蒂：他到达时正值秋冬交界，没有花、没有树、没有像样的前景，只有光秃秃的草地和雪。于是他把一个人作为参照系、作为故事感的来源取入画面；清晨色调的调色与整体色彩的烘托，同样吸取了此前学到的经验（视频 8:12 处）。做到神似，你就成了「小 Max Rive」——但画面里还带着那位摄影师清晰的影子，所以还要再往前一步。","xe":"The third example comes from the Dolomites: he arrived at the border of autumn and winter — no flowers, no trees, no proper foreground, only bare grass and snow. So he brought a person into the frame as a scale reference and a source of story; the early-morning palette and overall color orchestration likewise drew on everything learned before (at 8:12 in the video). Achieve spirit and you become a 'mini Max Rive' — though his shadow is still clearly visible in the frame, which is why one more step remains."},{"t":"img","f":"v09","w":852,"h":480},{"t":"h","x":"05 融合：博采众长，内化成自己的风格","xe":"05 Fusion: Borrowing From Many, Internalizing Your Own Style"},{"t":"p","b":false,"x":"神似再往前就是融合：从很多摄影师和艺术家那里获得灵感，只模仿每个人的某些元素，再融入自己的想法、创新和经历（视频 8:53 处）。Thomas 打了个比方：U盘不就是一个移动存储设备加一个 USB 接口吗？把两个东西结合在一起就变成了新东西——很多科学和工程上的发明，做的都是这样的融合。达到融合这个阶段，作品上已经基本看不出模仿的痕迹，因为它早已内化其中。","xe":"One step beyond spirit is fusion: draw inspiration from many photographers and artists, imitate only certain elements of each, then blend in your own ideas, innovation and experience (at 8:53 in the video). Thomas offers an analogy: isn't a USB drive just portable storage plus a USB plug? Combine the two and you get something new — much invention in science and engineering is exactly this kind of fusion. At the fusion stage, the traces of imitation are essentially gone, because they have been internalized."},{"t":"p","b":false,"x":"看这个最终案例，可以逐个拆出几位摄影师的影子（视频 10:11 起）。从 Max Rive 那里，Thomas 最早知道了格陵兰这个壮阔的拍摄地，也学到了人物在画面中的关键作用和层次感的营造；从北欧摄影师本杰明·哈德曼（Benjamin Hardman）那里，学到简洁、安静的雪景——雪景既能干净画面，又能烘托气氛。","xe":"In the final case study you can pick apart each influence (from 10:11 in the video). From Max Rive, Thomas first learned of Greenland as a grand location, plus the pivotal role a human figure plays in a frame and the crafting of layering; from the Nordic photographer Benjamin Hardman he learned simple, quiet snow scenes — snow both cleans the frame and sets the mood."},{"t":"img","f":"v10","w":852,"h":480},{"t":"img","f":"v11","w":852,"h":480},{"t":"p","b":false,"x":"从丹尼尔·科丹（Daniel Kordan）那里，学到梦幻、柔和的调色——画面里没有纯黑，色彩绚丽又带着朦胧舒服的质感；从托德·希多（Todd Hido）那里，学到情绪化的夜景拍摄与灯光的作用——雾气弥漫的晚上，路灯和屋子里的灯光对光线与氛围的提升至关重要（视频 11:31 处）。","xe":"From Daniel Kordan he learned dreamy, soft grading — no pure blacks anywhere, colors vivid yet veiled in a comfortable haze; from Todd Hido, moody night shooting and the power of artificial light — on foggy nights, streetlamps and lit windows are decisive for lifting light and atmosphere (at 11:31 in the video)."},{"t":"p","b":false,"x":"最终的成片把这些全部装了进去（视频 11:53 处）：场景选择是 Max Rive 的北极格陵兰，安静的氛围是哈德曼的雪，路灯与屋里灯光的强烈渲染来自希多，柔和梦幻的色调是科丹的功课，背景柔和、前景一层层互相遮挡、一层层明暗分开的层次感又是 Max Rive 的看家本领。再叠加自己的角度、构图与想法——每位摄影师各贡献一部分，融合成一张真正属于他自己的作品。","xe":"The final image holds all of it (at 11:53 in the video): the scene is Max Rive's Arctic Greenland, the quiet mood is Hardman's snow, the strong rendering of streetlamps and window light comes from Hido, the soft dreamy palette is Kordan's homework, and the layering — a soft background with foreground elements overlapping and separated tier by tier in light and dark — is Max Rive's signature craft. Add Thomas's own angle, composition and ideas: each photographer contributes a piece to a work that is finally, fully his own."},{"t":"img","f":"v12","w":852,"h":480},{"t":"quote","x":"1. 模仿有三阶段：形似是复制构图与色彩，神似是理解思路后在全新场景创作，融合是博采众长内化为自己的风格；2. 形似的关键是深度思考：到现场验证大师的前景选择，在构图与后期中推理「为什么这样拍」；3. 神似的方法是总结规律、分析原因——树做框架、冷色衬托金山、人物做参照系，都能迁移到新场景；4. 融合的路径是从多位摄影师各学一个元素：场景、氛围、色调、灯光，再融入自己的经历与创新。","xe":"1. Imitation has three stages: form copies composition and color, spirit creates in new scenes once you grasp the thinking, fusion absorbs many influences into your own style; 2. The key to form is deep questioning — verify the master's foreground choice on site and reason through why the frame and the edit work; 3. Spirit means summarizing patterns and causes — trees as frames, cold tones lifting a golden peak, a figure for scale all transfer to new places; 4. Fusion means taking one element each from several photographers — location, mood, palette, light — and blending in your own experience and innovation."},{"t":"h","x":"高清视频：","xe":"HD video:"},{"t":"p","x":"https://www.bilibili.com/video/BV1wf4y127cg/","b":false,"xe":"https://www.bilibili.com/video/BV1wf4y127cg/"},{"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":"and learn one photography skill every week."}],"titleEn":"Imitation in Photography: How Copying Truly Improves You"}