{"slug":"intimate-landscape-beauty","title":"如何在平凡杂乱的风景中，拍出与众不同的美","author":"Thomas看看世界","date":"2017-03-29","wechat":"https://mp.weixin.qq.com/s?__biz=MzI4NDA5MzE5NQ==&mid=2247485301&idx=1&sn=853a6baeb80ea1c1a8753308fa599bb8&chksm=eb81f911dcf670071d4dd9e6a030184f5e11b75e2b6ddc0975d74464e5fbf289e6f5b5afae6c&scene=21#wechat_redirect","blocks":[{"t":"p","x":"广角并不是风光摄影的唯一解药。在遇到杂乱场景、平凡景物或者大众机位的时候，有时把镜头切换成长焦，捕捉局部的细微小景，更能让你的照片出彩。","b":false,"xe":"Wide angle isn't the only answer in landscape photography. Facing cluttered scenes, ordinary subjects or overused viewpoints, switching to a telephoto to capture intimate details often makes your photos shine brighter."},{"t":"p","x":"今天的文章，极影AdventureX摄影师史炎冰，将告诉大家小景风光怎么拍。","b":false,"xe":"In today's article, AdventureX photographer Shi Yanbing explains how to shoot intimate landscapes."},{"t":"img","f":"img-02","w":640,"h":400},{"t":"h","x":"什么是小景风光？","xe":"What Is an Intimate Landscape?"},{"t":"p","x":"大景风光，也就是广大摄友俗称的“大片”，往往具备几个重要的特性:","b":false,"xe":"Grand landscapes — what enthusiasts commonly call 'epic shots' — usually share several key traits:"},{"t":"h","x":"1.纵深：一个典型的大景画面通常具有明显的前景、中景、远景。","xe":"1. Depth: a typical grand landscape has a distinct foreground, midground and background."},{"t":"p","x":"2.宽广：大多数大景风光由广角镜头完成。超越肉眼的透视广度、边缘畸变造成的视觉冲击是让人一见钟情的绝招。","b":true,"xe":"2. Breadth: most grand landscapes are made with wide-angle lenses. The superhuman perspective and the visual punch of edge distortion are love-at-first-sight weapons."},{"t":"p","x":"3.多元素：深度和广度决定了大景风光画面中元素的多样性——绚烂的天空、盛开的野花、形态美妙的水流等等自然元素的相互组合、相互呼应都是大景风光常见的形式。","b":true,"xe":"3. Multiple elements: depth and breadth mean a rich variety of elements — gorgeous skies, blooming wildflowers, beautifully shaped streams — combined and echoing one another, the common grammar of grand landscapes."},{"t":"p","x":"以下两幅即为传统意义上的大景风光，均由16mm的超广镜头拍摄，辅以流行的景深合成技术来达到整个纵深的清晰锐利，以体现一种视觉冲击：","b":false,"xe":"The following two images are traditional grand landscapes, both shot at 16mm ultra-wide, with focus stacking for front-to-back sharpness to maximize visual impact:"},{"t":"img","f":"img-03","w":613,"h":916},{"t":"img","f":"img-04","w":614,"h":919},{"t":"p","x":"与大景风光形成鲜明对比，小景风光具备迥然不同的特性：","b":false,"xe":"In sharp contrast, intimate landscapes have entirely different traits:"},{"t":"p","x":"1. 相对较窄的视角：与大景风光的第一眼震撼不同，小景风光的视角往往集中于一个局部。而这个局部的构思选取则充分展现了摄影师对环境细致入微的观察。","b":true,"xe":"1. A relatively narrow view: unlike the first-glance shock of a grand landscape, the intimate landscape concentrates on one small part of the scene. The choice of that part fully reveals the photographer's meticulous observation of the environment."},{"t":"p","x":"2. 注重于自然景观局部细节的规律：小景风光由于视角的特点往往包含元素的种类并不丰富。然而正因如此，一张好的小景作品会对仅有的元素在画面上呈现的形状造型、分布排列有着更为严格、挑剔的要求。","b":true,"xe":"2. Attention to the patterns of local detail: because of the narrow view, intimate landscapes contain few kinds of elements. Precisely for that reason, a good intimate work is far more demanding about the shapes, forms and arrangement of those few elements."},{"t":"p","x":"3. 烘托氛围、意境：很多小景风光旨在表现一种整体氛围、意境，而不在于突出画面中具体哪个景物，也并不一定需要画面中有明显的视觉中心点。","b":true,"xe":"3. Atmosphere and mood: many intimate landscapes aim to convey an overall atmosphere or artistic mood rather than highlight any specific object; they don't even require an obvious visual anchor in the frame."},{"t":"img","f":"img-05","w":640,"h":425},{"t":"p","x":"《千针万确》——拍摄于冰封的美国威斯康星州苏必利尔湖岸","b":false,"xe":"'A Thousand Needles, Exactly' — shot on the frozen shore of Lake Superior, Wisconsin, USA"},{"t":"p","x":"如果通过与大景风光对比所得到的这些对小景风光的定义、解释仍然显得模糊抽象，那么下面以一些拍摄实例来具体介绍小景风光的部分题材、特点、技巧和思路，希望能给读者带来更为全面、生动的认识。","b":true,"xe":"If these definitions of the intimate landscape still feel abstract, the following real-world examples will illustrate its subjects, traits, techniques and thinking — hopefully giving you a fuller, more vivid understanding."},{"t":"img","f":"img-06","w":640,"h":12},{"t":"h","x":"化繁为简","xe":"Simplifying the Complex"},{"t":"p","x":"大自然是纷繁错综的。越大的场景、越广的视角通常意味着更多杂乱元素的入境，而对整体画面表达造成一定的负面影响。因此拍摄大景时经常会在前期绞尽脑汁寻找能避开更多杂乱元素的角度，或者后期耗费大量时间埋头擦除、修复、克隆掉干扰视线的元素。","b":false,"xe":"Nature is intricate. The bigger the scene and the wider the view, the more clutter enters the frame, hurting the overall expression. So grand-landscape shooting often means racking your brain on location for angles that avoid clutter — or spending hours in post erasing, healing and cloning out distractions."},{"t":"p","x":"然而并不是任何条件在前后期努力下都能使最终的照片达到理想的效果。遇到这类情况时，不妨退一步思考一下是否可以通过变换焦距、拉近画面、仔细观察选取一个巧妙的局部来大刀阔斧地化繁为简。","b":true,"xe":"But not every scene yields to such front-and-back effort. When that happens, step back and ask: could I change focal length, zoom in, and carefully select a clever detail to simplify the scene decisively?"},{"t":"img","f":"img-07","w":640,"h":428},{"t":"p","x":"实例1：《冰雪奇缘》——美国华盛顿州北喀斯喀特国家公园雪山上的无名雪洞","b":false,"xe":"Example 1: 'Frozen' — a nameless snow cave in North Cascades National Park, Washington, USA"},{"t":"p","x":"以“冰雪奇缘”这张照片为实例来介绍这种小景拍摄的思路。这张照片偶得于一次北喀斯喀特国家公园雪山徒步。","b":false,"xe":"Let me use 'Frozen' to introduce this way of thinking. The photo came from a snowy hike in North Cascades National Park."},{"t":"p","x":"喀斯喀特山脉北起加拿大不列颠哥伦比亚省，穿越美国华盛顿州和俄勒冈州，最终到达加利福尼亚州，在它的沿线有十多座雪山。而这次徒步原本的主要目的是拍摄著名的贝克雪山秋景。","b":false,"xe":"The Cascade Range runs from British Columbia in Canada through Washington and Oregon to California, with more than a dozen snow peaks along it. The original goal of this hike was to photograph the famous autumn view of Mount Baker."},{"t":"p","x":"可惜天公不作美，山里的雾气始终没有散开让贝克雪山露出真容，拍摄日落大片的可能完全落空。然而当徒步至半山腰时，我发现了一小片冰川，而在冰川下意外藏匿了一个不及一人高的雪洞。","b":false,"xe":"Sadly, the weather didn't cooperate — the mountain fog never lifted to reveal Baker, and all hope of a sunset epic evaporated. But halfway up, I spotted a small glacier, and beneath it, hidden away, a snow cave less than a person's height."},{"t":"img","f":"img-08","w":743,"h":496},{"t":"p","x":"脑海中顿时想起Marc Adamus拍摄过那张梦幻般的雪洞场景“The Deep Blue”，于是一鼓作气爬进洞里。然而与想象中的梦幻场景截然不同，小雪洞内部地上树枝丛生、乱石满地，洞内壁也附着了斑斑驳驳的污泥。","b":false,"xe":"Marc Adamus's dreamlike snow-cave image 'The Deep Blue' instantly flashed through my mind, and I scrambled inside in one go. But the interior was nothing like the dream: branches sprouted from the floor, rubble everywhere, and blotchy mud clung to the walls."},{"t":"p","x":"这种杂乱繁忙的画面让我顿感无从取景。绞劲脑汁也就获得了下图所示的全景构图，并且还是经过数小时的后期清理才得到这样的效果，与Marc Adamus等拍摄大型雪洞的作品相去甚远。","b":false,"xe":"Faced with such a cluttered scene, I felt there was no composition at all. After much straining, I got only the panorama below — and even that took hours of cleanup in post — a far cry from the grand snow-cave works of Marc Adamus and others."},{"t":"img","f":"img-09","w":426,"h":639},{"t":"p","x":"在没有得到满意的全景构图后，我换了一个思路，装上70-200的长焦镜头开始考虑拍摄雪洞局部细节的可能性。由于长焦的视角和肉眼的中焦视角有着比较明显的区别，我个人的习惯是端着相机通过取景器观察、搜索来选取局部。这样往往比直接通过肉眼判断更为有效观。","b":false,"xe":"Without a satisfying wide composition, I changed tack: mounted the 70-200 telephoto and began considering the cave's details. Because the telephoto view differs markedly from the eye's natural mid-range view, my habit is to hold the camera to my eye and search through the viewfinder for fragments — usually far more effective than judging with the naked eye."},{"t":"h","x":"这个场景的局部取景我使用了以下的思路：","xe":"For this scene, my fragment-hunting followed these ideas:"},{"t":"h","x":"1. 光线：表现洞外阳光渗透进洞内所展示的晶莹剔透。","xe":"1. Light: express the crystalline translucence of sunlight seeping into the cave."},{"t":"h","x":"2. 层次：选取洞壁上层叠丰富、走向规律的部分","xe":"2. Layering: choose the parts of the wall with rich, regularly oriented strata."},{"t":"h","x":"3. 简洁干净：尽可能将瑕疵多的洞壁部分排除出构图。","xe":"3. Clean and simple: exclude the wall's more flawed sections from the frame as much as possible."},{"t":"img","f":"img-10","w":640,"h":428},{"t":"p","x":"最终在一番仔细搜索、尝试和思考后，得到了“冰雪奇缘”的最终效果。值得一提的是，这张照片的后期处理也延续了以上所列的三点思路：","b":false,"xe":"After careful searching, trying and thinking, 'Frozen' reached its final form. Notably, its post-processing continued the same three ideas:"},{"t":"p","x":"1. 光线：依据人眼的视觉规律，后期时我将照片整个做了上下翻转，将反射高光的部分置于画面上方更为引人注目。通过笔刷局部加亮高光部分将阳光的渗入感进一步加强。","b":true,"xe":"1. Light: following how the eye reads an image, I flipped the photo vertically in post so the reflective highlights sit at the top, drawing more attention; local brightening with a brush further strengthened the sense of sunlight seeping in."},{"t":"h","x":"2. 层次：局部压暗照片四周的阴影部分，同时保持各层边缘的亮度来强调轮廓线条。","xe":"2. Layering: locally darkened the shadows around the edges while keeping each stratum's edge bright to emphasize the contour lines."},{"t":"h","x":"3. 简洁干净：通过克隆工具进一步修复洞壁那些无法避免的小瑕疵。","xe":"3. Clean and simple: used the clone tool to further repair the unavoidable small flaws on the cave wall."},{"t":"p","x":"得益于小景化繁为简的思路让我在一个非理想的雪洞场景中获得一张视角独特、个性鲜明、难以复制的作品。如果当时固执地抱着非全景不拍的思维，那最终只能获得一张山寨、杂乱版的“The Deep Blue”。此外一张成功的作品的诞生需要明确清晰的拍摄思路，而这种思路往往贯穿了前期与后期。","b":false,"xe":"Thanks to the intimate-landscape idea of simplification, I came away from a non-ideal cave with a distinctive, personal, hard-to-replicate work. Had I stubbornly insisted on the panorama, I'd have gone home with a knock-off, cluttered version of 'The Deep Blue'. A successful work also needs a clear line of thinking — one that runs through both capture and post."},{"t":"h","x":"排列规律","xe":"Patterns of Arrangement"},{"t":"p","x":"有一类小景着眼于通过被摄物体的排列规律来表现大自然所创造的机缘巧合。而这些特征多数可以归结为简单的点、线、面的组合放。在前面的实例思路中提到过层次这个概念，而层次其实也可以归为排列规律的范畴。层次的本质是远近排列的一些平面，通过它们的轮廓线辅以不同的光影和清晰度来刻画出一种规律，进而折射出距离感。下面再举几个实例来延伸这一小景拍摄思路。","b":false,"xe":"One category of intimate landscape focuses on the arrangements of subjects — the happy accidents nature creates. Most of these features reduce to simple combinations of points, lines and planes. The layering mentioned earlier actually belongs to this category too: layers are essentially planes arranged by distance, their contours rendered with different light and sharpness to inscribe a pattern that conveys depth. Here are more examples extending this line of thinking."},{"t":"img","f":"img-11","w":640,"h":426},{"t":"p","x":"实例2：《红与白》——拍摄于美国亚利桑那州波浪谷","b":false,"xe":"Example 2: 'Red and White' — shot at The Wave, Arizona, USA"},{"t":"p","x":"在旅游信息、图片信息急速膨胀的网络时代，美国亚利桑州的波浪谷对广大摄友来说可谓眼熟能详。它的摄影作品，可能已经看到审美疲劳。而这张“红与白”也许能让你眼前一亮，甚至第一眼未必能马上反应出拍摄的地点。普遍认为波浪谷的最佳拍摄条件是正午时分，由直射阳光勾勒出岩石的自然纹理，来展现“波浪”的既视感。","b":false,"xe":"In this internet age of exploding travel and image information, The Wave in Arizona is all too familiar to photographers — its photos may already cause aesthetic fatigue. But this 'Red and White' might refresh your eyes; at first glance you may not even recognize the location. It's commonly believed the best condition at The Wave is noon, when direct sunlight sketches the rock's natural grain into 'waves'."},{"t":"p","x":"而“红与白”摄于一个大雪纷飞的早晨，天空一片惨白，整个波浪谷的能见度非常低，根本没有直射阳光。由于波浪谷岩壁的垂直角度，雪并不能长时间附着在它上面。在降雪短暂停歇的间隙，随着岩壁上雪逐渐掉落地面，岩石的纹理竟然被白色的残雪清晰地勾勒衬托出来。而这种奇妙的状态仅仅维持了两三分钟，剩余的雪就都掉落到了地上。","b":false,"xe":"'Red and White' was shot on a heavily snowing morning: the sky a pale white, visibility extremely low, no direct sunlight at all. Because the Wave's walls are near-vertical, snow can't cling to them for long. In a brief pause between snowfalls, as the snow slid off the walls, the rock's grain was crisply outlined and set off by the remaining white snow. This magical state lasted only two or three minutes before the rest of the snow fell away."},{"t":"img","f":"img-12","w":921,"h":613},{"t":"p","x":"拍摄这张照片的思路很明确，就是寻找纹理线条最清晰、走向最有规律的那个局部。由上面的分析图可以看到近、中、远三块岩壁将画面分割成了三个三角形的局部。而每个局部的纹理线条都有自己整齐的走向。为了纯粹地强调线条、简化画面，拍摄时严格避免了天空的入境，同时也只包含了少部分纯白的地面。","b":true,"xe":"The idea for this photo was clear: find the fragment where the texture lines are crispest and most regularly oriented. As the analysis diagram shows, three rock walls — near, middle and far — divide the frame into three triangular zones, each with its own orderly grain direction. To emphasize the lines purely and simplify the frame, I rigorously excluded any sky and included only a small patch of pure white ground."},{"t":"p","x":"后期的调整仍旧遵循突出线条的整体思路，简单增强了红色的饱和度与亮度、增强了整体对比使红白更加分明，利用色彩的区分进一步刻画了线条。","b":true,"xe":"The edit followed the same line-emphasizing logic: slightly boosted the reds' saturation and brightness, raised overall contrast to separate red from white, using color differentiation to further carve out the lines."},{"t":"img","f":"img-13","w":913,"h":605},{"t":"p","x":"实例3：《点石成金》——美国华盛顿州北喀斯喀特国家公园雪山上的金松秋景","b":false,"xe":"Example 3: 'Touching Stone into Gold' — golden larches in autumn, North Cascades National Park, Washington, USA"},{"t":"p","x":"除了线条外，点的排列同样可以构成精彩的小景作品。“点石成金”也拍摄于美国华盛顿州北喀斯喀特国家公园雪山。每年秋天雪山上的金松都会展现最有生命力的颜色和姿态。","b":false,"xe":"Beyond lines, arrangements of points can also make brilliant intimate works. 'Touching Stone into Gold' was likewise shot in North Cascades National Park. Every autumn, the golden larches on these peaks show their most vital colors and postures."},{"t":"p","x":"照片拍摄的时间其实早已过了日出前后的黄金半小时——那个早晨是万里无云的“光板天”，导致预想的日出拍摄一无所获。","b":false,"xe":"The photo was actually taken well past the golden half-hour around sunrise — that morning was a cloudless 'flat-light day', and the planned sunrise shoot yielded nothing."},{"t":"img","f":"img-14","w":640,"h":427},{"t":"p","x":"当太阳升至比较高的某个位置时，我观察到远处垂直崖壁上稀稀疏疏的金松恰好会被侧光点亮。顿时嗅到了拍摄小景的机会，开始用长焦在众多崖壁上寻找具有明显排列规律的金松阵列。尝试了几个局部后，最终找到了这个较为简洁的排列。","b":false,"xe":"As the sun climbed to a certain height, I noticed the sparse golden larches on the distant vertical cliff would just catch the sidelight. Smelling an intimate-landscape opportunity, I began searching the cliffs with a telephoto for larch formations with clear patterns. After several fragments, I finally found this relatively clean arrangement."},{"t":"p","x":"后期的思路类似“红与白”，通过增强冷暖色和明暗的对比来突出高光的“点”排列，弱化背景崖壁的阴影区。","b":true,"xe":"The editing logic mirrors 'Red and White': strengthen the warm-cool and light-dark contrast to spotlight the 'points' in highlight, while letting the cliff's shadow zones recede."},{"t":"img","f":"img-15","w":1008,"h":657},{"t":"p","x":"实例4：《Puzzle》（拼图）——极影AX摄影师潘玮浩拍摄","b":false,"xe":"Example 4: 'Puzzle' — by AdventureX photographer Pan Weihao"},{"t":"p","x":"有了点和线，自然少不了面的排列。极影AX摄影师潘玮浩的这张Puzzle巧妙结合了火山表面的自然花纹与由地形造成的局部积雪。两种颜色、两种明暗的图案相互交错，再配合星星点点穿插其中的树木，完美诠释了排列规律的小景风光拍摄手法。","b":false,"xe":"With points and lines, planes can't be left out. AdventureX photographer Pan Weihao's 'Puzzle' cleverly combines the natural patterns of a volcano's surface with local snow patches shaped by the terrain. Two colors and two brightnesses interlock, dotted with trees scattered between — a perfect demonstration of arrangement in intimate landscapes."},{"t":"p","x":"点、线、面等局部细节的排列规律是展现大自然之精妙的一种较为抽象的摄影手法。要运用得当娴熟，依赖于摄影师对环境细致入微的观察能力和想象能力。","b":false,"xe":"The patterned arrangement of points, lines and planes is a relatively abstract photographic technique for revealing nature's subtlety. Using it well depends on the photographer's meticulous observation and imagination."},{"t":"p","x":"在徒步、踩点、拍摄过程中，放慢步伐、留意周围的大小景观、培养对局部光线的敏感度都能增加捕捉到此类场景的机会。相反，那些事先就给自己预定好这次一定要拍什么，到了现场就直奔主题的摄影爱好者，往往容易错失发现这些排列规律的机会。","b":true,"xe":"While hiking, scouting and shooting, slowing your pace, noticing scenes large and small around you, and cultivating sensitivity to local light all raise your chances of catching such scenes. Conversely, enthusiasts who pre-decide exactly what they'll shoot and charge straight at the subject often miss these discoveries."},{"t":"p","x":"风光摄影不是TVB剧——看了开头就知道结局。拍摄过程中通过耐心观察而产生的意外发现不仅增加了摄影的乐趣，也锻炼提高了摄影师自身的艺术修养。","b":true,"xe":"Landscape photography isn't a TVB drama where you know the ending from the start. Unexpected discoveries born of patient observation add to photography's joy — and train the photographer's artistic cultivation."},{"t":"img","f":"img-16","w":640,"h":12},{"t":"h","x":"质感","xe":"Texture"},{"t":"p","x":"众所周知照片是一种二维媒介。如果说点线面的排列规律还比较容易用二维媒介直观表现，那么质感这个三维概念的平面表现则进一步展现了小景风光的精妙之处。质感的强调通常基于两个重要要素：","b":false,"xe":"As we all know, a photo is a two-dimensional medium. If points, lines and planes are relatively easy to show in 2D, then texture — a three-dimensional concept — further demonstrates the intimate landscape's subtlety. Emphasizing texture usually rests on two key elements:"},{"t":"p","x":"1.明暗：在合适方向、强度的光线照射下，景物表面的细小凹陷、凸起、层叠会被阴影和高光自然区分开，而这种明暗对比很自然的在平面媒介上创造出立体感。看过、学过素描的读者一定对这种手法不陌生。","b":true,"xe":"1. Light and shade: under light of the right direction and intensity, tiny pits, bumps and layers on a surface are naturally separated by shadows and highlights, and this tonal contrast naturally creates three-dimensionality on a flat medium. Anyone who has studied sketching knows the method well."},{"t":"p","x":"2.色彩：岩石表面由于成分不同而形成的多彩花纹、植物枝叶因为受光不同形成的颜色渐变——色彩的变化也暗示了质感的变化。","b":true,"xe":"2. Color: the multicolored patterns formed by different mineral compositions in rock, the color gradients formed by varied light on leaves — changes of color also imply changes of texture."},{"t":"img","f":"img-17","w":640,"h":428},{"t":"p","x":"实例5：《疯狂山丘》——拍摄于美国内华达州火焰谷州立公园","b":false,"xe":"Example 5: 'Crazy Hills' — shot at Valley of Fire State Park, Nevada, USA"},{"t":"img","f":"img-18","w":640,"h":426},{"t":"p","x":"实例6：《彩色恶土》——拍摄于美国犹他州蘑菇石林","b":false,"xe":"Example 6: 'Colored Badlands' — shot among the mushroom hoodoos of Utah, USA"},{"t":"p","x":"“疯狂山丘”和“彩色恶土”展现的分别是岩层和恶土的质感。它们的拍摄有很多共同之处。两者都利用了日落后金星带时最柔和的散射光——柔和、微妙的散射光、漫反射光往往比强烈的直射光对质感的体现更有帮助。两者都同时结合了明暗和色彩来展现出岩层的片状层叠和恶土的干燥开裂。然而两张照片的拍摄角度却不太相同。","b":false,"xe":"'Crazy Hills' and 'Colored Badlands' show the textures of rock strata and badlands respectively, and they share much. Both use the softest diffused light of the Earth's shadow (Belt of Venus) after sunset — soft, subtle, diffuse reflected light usually serves texture better than harsh direct light. Both combine tone and color to reveal the flaky layering of strata and the dry cracking of badlands. Yet their shooting angles differ."},{"t":"p","x":"“彩色恶土”采用的是严格意义的平面拍摄，即镜头与画面垂直，画面中的所有部分都在同一焦平面。","b":true,"xe":"'Colored Badlands' uses strictly flat shooting: the lens is perpendicular to the subject, and everything in frame lies on the same focal plane."},{"t":"p","x":"平面拍摄是体现小景质感最常使用的方法。它的好处是重点突出、畸变较小、也不需要很大的景深。难点则是对被摄物体表面结构比较挑剔，如果表面仅仅只有细微的颗粒或者起伏，那么很难找到一种光线角度能够将质感刻画强烈。","b":true,"xe":"Flat shooting is the most common method for intimate textures. Its strengths: clear focus of attention, minimal distortion, and no need for great depth of field. Its difficulty: it's picky about surface structure. If the surface has only fine grains or gentle undulations, no lighting angle can carve the texture strongly."},{"t":"p","x":"而“彩色恶土”得益于有起伏较为强烈、特征较为明显的裂纹元素，以及红白相间的色彩烘托，得以克服平面拍摄的这一弊端。","b":false,"xe":"'Colored Badlands' overcame this drawback thanks to its strongly undulating, distinctive cracks and its red-and-white color interplay."},{"t":"p","x":"“疯狂山丘”则是典型的非平面拍摄，即镜头与被摄表面并不垂直。非平面拍摄在寻找拍摄位置、角度的时候要密切关注光的方向和柔和程度，来创造最和谐的光影立体效果。","b":true,"xe":"'Crazy Hills' is a typical non-flat shot — the lens is not perpendicular to the surface. For non-flat shooting, when choosing position and angle you must watch the light's direction and softness closely to create the most harmonious dimensional effect."},{"t":"p","x":"而拍摄的难点则是无论用长焦还是用广角，都很容易造成景深不够，导致画面中大片边角部分脱焦。如果脱焦的边角在不容易注意到的暗部还问题不大，如果是在高光、高饱和区域则干扰视线、成为败笔。","b":false,"xe":"The difficulty is that, wide or telephoto, depth of field easily falls short, leaving large corners of the frame out of focus. If the blurred corners sit in inconspicuous shadows, that's tolerable; in highlight or highly saturated areas, they distract and ruin the image."},{"t":"p","x":"拍摄中要注意经常通过相机LCD放大照片、仔细检查各部分清晰状况。使用较小的光圈配合三脚架的辅助大部分情况下能解决景深问题，但少数极端情况则还需要配合使用多张景深叠加的技术。","b":true,"xe":"While shooting, frequently zoom in on the camera LCD and check sharpness across the frame. A smaller aperture plus a tripod solves most depth-of-field issues; a few extreme cases also require multi-frame focus stacking."},{"t":"img","f":"img-19","w":571,"h":855},{"t":"p","x":"实例7：《刚柔并济》——美国华盛顿州富兰克林瀑布","b":false,"xe":"Example 7: 'Hard and Soft in Harmony' — Franklin Falls, Washington, USA"},{"t":"p","x":"当明暗和色彩条件都不理想的时候，也未必就无法表现质感。“刚柔并济”这张照片拍摄于一个冬季的阴天，既没有理想的光线，整个场景也都被单调的蓝调笼罩。然而通过流水长曝光下的丝滑和瀑布冰柱冰针的“对比”凸显出两者截然不同的质感。举这个例子意在启发读者，摄影并无公式可言，却可以充满奇思妙想，小景风光更是如此。","b":false,"xe":"When neither light nor color is ideal, texture can still be expressed. 'Hard and Soft in Harmony' was shot on an overcast winter day: no ideal light, the whole scene shrouded in monotonous blue. Yet the silky long-exposure water contrasts with the icy needles of the frozen falls, setting off two utterly different textures. This example aims to inspire: photography has no formula, but it can be full of imagination — and intimate landscapes most of all."},{"t":"h","x":"氛围","xe":"Atmosphere"},{"t":"p","x":"从显而易见的“化繁为简”，到容易理解的点线面“排列规律”，到有点模糊的“质感”表现，我们讨论的小景风光范畴正一步步越来越抽象。这种“抽象”的顶点则是本文介绍的最后一个小景风光类别：氛围","b":true,"xe":"From the obvious 'simplifying the complex', to the understandable 'arrangement' of points, lines and planes, to the somewhat fuzzy expression of 'texture', our categories of intimate landscape grow ever more abstract. The apex of this abstraction is the final category: atmosphere."},{"t":"p","x":"氛围也称意境，是一种说不清、摸不着但又能确实感觉得到的东西。它往往来自摄影师置身于特定环境中的一种情绪、感受，通过照片的渲染来传递给观者。","b":true,"xe":"Atmosphere — also called artistic mood — is something you can't describe or touch, yet definitely feel. It often springs from the photographer's emotions within a specific environment, conveyed to the viewer through the rendering of the photo."},{"t":"p","x":"氛围小景灵活多样，云、雾、霜、露、雪等多种天气条件都是表现氛围的绝佳素材。氛围小景在构图上也没有条条框框的限制——可以包含标志性的景观，也可以没有明确的视觉中心素。只要画面的整体效果能够恰当展现一种明确的氛围，那么作品的目的就达到了。","b":false,"xe":"Atmospheric intimate scenes are flexible and varied: clouds, fog, frost, dew, snow and many other weather conditions are superb material. There are no compositional rules either — the frame may include an iconic feature, or have no clear visual anchor at all. As long as the overall effect properly presents a definite atmosphere, the work has achieved its purpose."},{"t":"img","f":"img-20","w":800,"h":400},{"t":"p","x":"实例8：《梦中之湖》——美国北密歇根州秋色","b":false,"xe":"Example 8: 'Lake in a Dream' — autumn colors of northern Michigan, USA"},{"t":"p","x":"“梦中之湖”拍摄于一次美国北密歇根的赏秋之旅。一连几天阴雨绵绵，秋冬之交温度还很低，将摄影、游玩的兴致降到了低点。旅途的最后一天，因为没订到宾馆，我们选择了在一个不出名的小湖边露营。经历了淅淅沥沥的一晚，第二天清晨突然被一声枪响惊醒，惊恐中走出帐篷环顾四周，才意识到是远处林子里的打猎声。","b":false,"xe":"'Lake in a Dream' came from an autumn trip to northern Michigan. Days of drizzle and the low temperatures of late autumn had dampened our spirits for photography and sightseeing alike. On the last day, with no hotel available, we camped by an obscure little lake. After a drizzly night, I was jolted awake at dawn by a gunshot — stepping out of the tent in alarm, I realized it was hunting in the distant woods."},{"t":"p","x":"当猎枪声停止后，整个四周安静到只能听见自己的呼吸声。走到湖边，发现由于温度的回升，湖面上浮现了一层薄雾。没有一丝风使湖面宛如镜面，将对岸各种颜色枫树朦朦胧胧的倒影呈现其中。空气清新，迷雾缭绕。这张照片的最终效果，准确地反映了当时身在此中的感觉——静、仙。而达到这个效果除了天时、地利外，也需要通过一些主观的加工。","b":false,"xe":"When the shooting stopped, the surroundings fell so quiet I could hear only my own breathing. Walking to the lakeshore, I found that as the temperature rose, a thin mist floated on the lake. Windless, the surface was a mirror, presenting the hazy reflections of the multicolored maples on the far shore. The air was fresh, the mist swirling. The photo's final effect accurately reflects how it felt to be there — serene, fairylike. Reaching that effect took not only favorable timing and place, but also some subjective processing."},{"t":"p","x":"这里主要使用的方法是后期颜色的调整。通过整体色调向“青蓝”方向的调整，以及将树木的红、黄、橙、绿单独向相应的嫩色系、亮色系调整，用类似人像中“小清新”的调色思路营造了一种“空山新雨后,天气晚来秋”的感觉。","b":true,"xe":"The main method was color adjustment in post: shifting the overall tone toward cyan-blue, and individually tuning the trees' reds, yellows, oranges and greens toward their tender, brighter variants — a 'fresh and clean' grading approach borrowed from portraiture — to evoke the feeling of 'after fresh rain in the empty mountains, autumn approaches with the evening'."},{"t":"img","f":"img-21","w":640,"h":428},{"t":"p","x":"实例9：《飞雪连天》——拍摄于美国犹他州布莱斯国家公园","b":false,"xe":"Example 9: 'Flying Snow Across the Sky' — Bryce Canyon National Park, Utah, USA"},{"t":"p","x":"与“梦中之湖”的安静不同，“飞雪连天”表现的则是一种冷暖交替的感受。","b":false,"xe":"Unlike the quiet of 'Lake in a Dream', 'Flying Snow Across the Sky' expresses an alternation of cold and warm."},{"t":"p","x":"照片拍摄于布莱斯国家公园的一个冬日早晨。由于高海拔的关系，布莱斯国家公园冬天的温度低至零下二十五摄氏度。寒风夹杂着雪花阵阵呼啸，脚踏雪钉在日出前就瑟瑟发抖地守在了拍摄点，嘴里啃着硬邦邦、冰冰凉的饼干。","b":false,"xe":"Shot on a winter morning in Bryce Canyon. Due to the high elevation, winter temperatures there drop to −25°C. Icy wind carried gusts of snow; in crampons, I shivered at the spot before sunrise, gnawing a hard, freezing biscuit."},{"t":"p","x":"然而仅仅十几分钟后，太阳越过地平线，用第一屡阳光亲吻在石笋上时，仿佛将整个沉睡的石林唤醒，仿佛将寒意驱赶得一干二净。","b":false,"xe":"Yet barely ten minutes later, when the sun crossed the horizon and its first rays kissed the hoodoos, it was as if the whole sleeping stone forest awoke — as if the cold had been swept away entirely."},{"t":"p","x":"“飞雪连天”的构图中并没有一两个主宰画面的石笋，而是主要通过光感、远景的朦胧感、冷暖色调对比来反映现场的气氛。","b":true,"xe":"The composition of 'Flying Snow Across the Sky' has no one or two dominant hoodoos; it conveys the scene's atmosphere mainly through the glow of light, the haze of the distance, and the cold-warm color contrast."},{"t":"img","f":"img-22","w":1000,"h":666},{"t":"p","x":"实例10：《排山倒海》——拍摄于美国华盛顿州舒克桑山","b":false,"xe":"Example 10: 'An Avalanche of Mountains' — Mount Shuksan, Washington, USA"},{"t":"p","x":"氛围可以是多种多样的，如果说前两个实例表现的意境都比较安详、和谐，那么“排山倒海”则体现了大山里的险峻、压抑和凝重。","b":false,"xe":"Atmosphere comes in many kinds. If the previous two examples feel peaceful and harmonious, 'An Avalanche of Mountains' embodies the peril, oppression and gravity of the high mountains."},{"t":"p","x":"舒克桑山(Mt Shuksan)被称为美国喀斯喀特群山中被摄影师记录最多的山峰。该片的构图却并没有包含舒克桑山任何标志性、特征性的景观，而只是用200毫米长焦拉近截取了侧峰上的一个小坡。","b":false,"xe":"Mount Shuksan is called the most photographed peak in America's Cascade Range. Yet this composition includes none of Shuksan's iconic features — it merely zooms in with a 200mm telephoto on a small slope of a side ridge."},{"t":"p","x":"然而真正烘托整个场景氛围的既不是小坡本身，也不是坡上稀散的松树和草地，而是有如排山倒海之势俯冲下来的云雾。同样用没有主宰的景观来捕获视线，通过特定天气条件、目的明确的构图和后期的暗调、低饱和处理的配合营造出了一个整体感觉。","b":false,"xe":"What truly builds the atmosphere is neither the slope itself nor its sparse pines and grass, but the cloud and fog diving down like an avalanche. Again using no dominant feature to catch the eye, the image creates an overall feeling through specific weather, purposeful composition, and a dark, low-saturation treatment in post."},{"t":"h","x":"为什么我们要拍小景风光","xe":"Why Shoot Intimate Landscapes?"},{"t":"p","x":"举了这么多实例，也许作为读者的你仍旧在疑问：小景风光究竟好在哪里？我为什么要去尝试、追求小景风光？那么希望下面这段总结能解答这种疑问。","b":true,"xe":"After so many examples, you may still wonder: what exactly is good about intimate landscapes? Why should I try and pursue them? Hopefully this summary answers that."},{"t":"p","x":"也希望这篇小景风光的介绍能对读者在追寻风光摄影的道路上有所启发，能够挖掘更多个性化、原创性的题材、表现，而不是千篇一律的照搬模仿流行的风格。","b":true,"xe":"May this introduction inspire you on your landscape-photography journey — to dig out more personal, original subjects and expressions, rather than endlessly copying popular styles."},{"t":"h","x":"1. 拍摄小景风光更容易体现摄影师的主观原创性","xe":"1. Intimate landscapes more easily show the photographer's subjective originality"},{"t":"p","x":"不可否认大景风光同样可以非常创新，然而创新的程度受环境(特别是地形)的限制要大得多。很多所谓大片，尤其是那些热门景点的大片，或多或少是在不断重复别人的作品，变化的往往只是天气条件而不是摄影师自身的想法。这种大同小异的重复使得作品本身的艺术价值大打折扣。","b":false,"xe":"Grand landscapes can certainly be innovative too — but their innovation is far more constrained by the environment, especially terrain. Many so-called epic shots, especially at popular spots, more or less repeat others' works; what changes is usually just the weather, not the photographer's own ideas. Such near-identical repetition greatly discounts a work's artistic value."},{"t":"p","x":"相反，在同一场景、同一天气条件下，小景风光的拍摄潜力、选择是无限的。这种丰富的选择提供了摄影师八仙过海、各显神通的平台，来创造出带有个性、真正属于自己的摄影作品。","b":true,"xe":"Conversely, in the same scene under the same weather, the intimate landscape's potential and choices are unlimited. That abundance gives photographers a stage to show their individual prowess and create works that are personal and truly their own."},{"t":"h","x":"2. 小景风光难以复制","xe":"2. Intimate landscapes are hard to replicate"},{"t":"p","x":"也许你已经通过之前的实例分析发现，很多小景风光作品得益于特定的自然条件和光线条件。这些条件往往转瞬即逝，也通常难以预测。","b":false,"xe":"You've probably noticed from the examples that many intimate works depend on specific natural and lighting conditions — conditions that are fleeting and usually unpredictable."},{"t":"p","x":"另一方面，小景风光的拍摄角度、取景构图甚至拍摄地点经常是在现场临时发掘的，具有一定的随机性、不确定性。也许第二天到了同一场景都未必能重新找回一模一样的构图。","b":false,"xe":"Moreover, the angles, framing and even locations of intimate landscapes are often improvised on site, carrying randomness and uncertainty. Return to the same scene the next day and you may never recover the identical composition."},{"t":"p","x":"因此绝大部分优秀的小景风光作品极难被复制重现。物以稀为贵，这也奠定了一幅好的小景风光作品的价值。","b":true,"xe":"So the vast majority of excellent intimate landscapes are extremely hard to reproduce. Rarity breeds value — and that underpins the worth of a good intimate work."},{"t":"h","x":"3. 小景风光对天色、光线的要求宽松，会大大增加在非理想条件下的出片率","xe":"3. Intimate landscapes are lenient about sky and light, greatly raising your keeper rate in non-ideal conditions"},{"t":"p","x":"咋一看这个观点与之前提到的“很多小景风光作品得益于特定的自然条件和光线条件”的说法相矛盾。但回想一下那些看过、拍过的优秀大景风光作品，它们大多都需要绚丽的天色和壮观的云彩来烘托，条件比较单一。","b":false,"xe":"At first glance this contradicts the earlier claim that 'many intimate works depend on specific natural and lighting conditions'. But think of the great grand landscapes you've seen and shot: most demand gorgeous skies and dramatic clouds — a rather singular requirement."},{"t":"p","x":"相反对于小景风光而言，对天色几乎没有要求，同时需要的仅仅是局部光线。即使是局部光线也不依赖于某种特定的形式，无论是直射、漫射、散射、甚至微光、平光都有可能创造出佳作。","b":false,"xe":"The intimate landscape, by contrast, asks almost nothing of the sky and needs only local light. And even that local light depends on no particular form — direct, diffuse, scattered, even dim or flat light can all produce excellent work."},{"t":"p","x":"风光摄影圈有句著名的箴言：all light is good light，直白地翻译即所有光都是好光。而这句话应用在小景风光上真是再合适不过了。","b":true,"xe":"There's a famous maxim in landscape circles: 'all light is good light'. Applied to intimate landscapes, it couldn't be more fitting."},{"t":"h","x":"4.小景风光贵在坚持、贵在积累","xe":"4. Intimate landscapes reward persistence and accumulation"},{"t":"p","x":"单张小景风光照片往往显得单薄、不如大景风光那样夺人眼球。但经过积累，当多张同地点或类似主题的小景作品组成系列时，它们对地域、地质、气候、时间、氛围的整体表现深度、耐看性将远远超过单张大片所能企及的程度。","b":false,"xe":"A single intimate photo can seem thin, less eye-catching than a grand landscape. But accumulate them: when multiple intimate works of the same place or theme form a series, their overall depth and lasting appeal in expressing a region, its geology, climate, time and atmosphere far exceed what any single epic can reach."},{"t":"img","f":"img-23","w":640,"h":427},{"t":"p","x":"《冬日暖阳》——拍摄于美国犹他州布莱斯国家公园","b":false,"xe":"'Warm Winter Sun' — shot at Bryce Canyon National Park, Utah, USA"},{"t":"p","x":"（完）","b":false,"xe":"(The End)"}],"titleEn":"Finding Intimate Beauty in Ordinary, Cluttered Scenery"}