{"slug":"natgeo-masterclass","title":"摄影大师如何拍照？国家地理大师班都教了啥？","author":"Thomas看看世界","date":"2023-05-28","wechat":"https://mp.weixin.qq.com/s?__biz=MzI4NDA5MzE5NQ==&mid=2247497449&idx=1&sn=56e7c350ec2659724cffc918c840e56c&chksm=eb82088ddcf5819b2fca2cf84fcc53680454a0b52ebe2ce4094cbd09ac71e27b9a17fef7226d&scene=21#wechat_redirect","blocks":[{"t":"p","x":"这周我参加了国家地理杂志和松赞酒店联合举办的大师班，有幸跟着国家地理摄影师、荷赛大奖得主John Stanmeyer学习了5天，收获非常多。","b":false,"xe":"This week I attended a masterclass co-hosted by National Geographic and Songtsam Hotels, spending five days learning from National Geographic photographer and World Press Photo winner John Stanmeyer — an incredibly rewarding experience."},{"t":"p","x":"今天的摄影教程中，Thomas就会分享5点自己的收获，也是很多摄影师和爱好者可以思考和探讨的方向！","b":false,"xe":"In today's tutorial, Thomas shares five key takeaways that many photographers and enthusiasts can reflect on and discuss!"},{"t":"img","f":"img-01","w":1080,"h":608},{"t":"h","x":"视频","xe":"Video"},{"t":"bili","bv":"BV1ec411G72Z","bpic":"bili-1","bt":"国家地理摄影大师班都教了啥？我从荷赛大奖得主那学到的5个技巧！"},{"t":"p","x":"这一篇是上面视频的完整图文整理。Thomas 花了一周时间参加国家地理与松赞联合举办的大师班，导师是著名国家地理摄影师、2014 年荷赛大奖得主 John Stanmeyer。视频里他分享了从 John 身上学到的五点摄影思考——慢下来等待、不为虚化而虚化、深度交流再拍摄、组图编辑的力量、保持好奇心。这里把这五点连同课上讲到的经典案例（Signal、西安城墙、虚焦僧人片）一起落成图文。","xe":"This is the fully illustrated companion to the video above. Thomas spent a week at the National Geographic masterclass co-hosted with Songtsam, taught by renowned NG photographer and 2014 World Press Photo winner John Stanmeyer. The video shares five takeaways — slow down and wait, don't blur foregrounds for their own sake, connect deeply before shooting, the power of the photo essay, and staying curious. Here those five points are laid out in text alongside the classic cases from the class: Signal, the Xi'an city wall, and the blurry monks frame.","b":false},{"t":"p","x":"先看总览。下面这张要点页截自视频 6:24 处，是整期视频的五条主线——找到好构图后耐心等待时机；不要为了前景而前景；深度交流才能更深度的拍摄；组图编辑可以化腐朽为神奇；保持好奇心，找到自己的风格。下文逐一展开。","xe":"Start with the overview. This summary slide, captured at 6:24 in the video, lays out the five threads of the whole talk — wait patiently once you find a good composition; don't put a foreground in just for the sake of it; deep connection enables deeper photography; essay editing turns dross into magic; stay curious and find your own style. Each is unpacked below."},{"t":"img","f":"v01","w":852,"h":480},{"t":"h","x":"01 慢下来：好照片是等出来的","xe":"01 Slow Down: Great Photos Are Waited For"},{"t":"p","x":"John 发现这一行学员的通病：拍完一个点就立马赶往下一个点，而不是在同一个点等到最佳时刻。他自己的荷赛大奖作品 Signal 就是这么等出来的（视频 0:43 处）——第一天他去海滩，发现索马里移民举着手机搜寻能联系上家里人的信号，觉得非常有意思，但人不多；他第二天、第三天又去，终于拍到一群人举着手机、背后是月光的最震撼一幕。","xe":"John spotted the class's common habit: shoot one spot and immediately rush to the next, instead of staying until the best moment arrives. His World Press Photo winner Signal was won exactly by waiting (at 0:43 in the video). On day one at the beach he noticed Somali migrants holding up phones, searching for a signal to reach home — fascinating, but too few people. He returned on day two and day three, and finally captured the staggering scene of a crowd holding phones skyward under moonlight."},{"t":"img","f":"v02","w":852,"h":480},{"t":"p","x":"今年在西安城墙 John 又演示了一遍这种等待：很多穿汉服的女生来拍照，但大家都朝着古建筑的方向拍；John 觉得更有意思的，是汉服女生与城墙另一侧现代化建筑的对比（视频 1:31 处）。他等了差不多两三个小时，终于等来一群从内蒙古来、同样穿着汉服的游客——因为对城墙风景好奇，她们正好走向现代建筑那一边，其中一个人占据了城墙的缺口眺望风景，他按下了快门（视频 1:59 处）。发现好构图之后耐心等人物、等光线、等瞬间，这是大师班的第一课。","xe":"This year on the Xi'an city wall he demonstrated the same patience: many girls in Hanfu came to shoot, but everyone pointed cameras toward the ancient architecture. John found the more interesting picture in the contrast between Hanfu girls and the modern buildings on the other side of the wall (at 1:31). He waited two to three hours until a group of tourists from Inner Mongolia, also in Hanfu, showed up — curious about the view, they walked toward the modern side, and one of them claimed a gap in the wall to gaze out. He pressed the shutter (at 1:59). Find a good composition, then wait for the person, the light, the moment — lesson one of the masterclass."},{"t":"img","f":"v03","w":852,"h":480},{"t":"h","x":"02 不要为了前景而前景：虚化不等于信息量","xe":"02 No Foreground for Its Own Sake: Blur Is Not Information"},{"t":"p","x":"给爱好者们的第二条建议，针对的是风光摄影里流行的大光圈虚化前景（视频 2:27 处）。John 的问题很直接：如果前景虚得太狠，它就没有任何信息量——观众甚至分不清你放的是一个茶杯、一个咖啡杯还是一包盐。他的建议是把光圈稍稍收一点，让前景保持可读，为画面提供真正的信息，而不是只充当一个模糊的色块。","xe":"His second piece of advice for enthusiasts targets the popular wide-open foreground blur in landscape shooting (at 2:27). John's question is blunt: if the foreground is blurred beyond recognition, it carries zero information — the viewer cannot tell whether you placed a teacup, a coffee mug or a box of salt there. Stop the aperture down a little, he says, keep the foreground readable, and let it deliver real information instead of acting as a smudge of color."},{"t":"img","f":"v04","w":852,"h":480},{"t":"h","x":"03 放下相机去交流：别拍表演式的微笑","xe":"03 Put the Camera Down and Connect: Skip the Performed Smile"},{"t":"p","x":"第三点戳中了很多爱好者：我们都爱拍微笑的小孩、夜市里的小贩、寺庙周围的老人，但 John 会反问——你知道这个小孩、这位老人叫什么名字吗（视频 3:02 处）？而且这样的照片往往是「表演」：对方一看到摄影师、看到相机，就摆出了镜头前的表情。他遇到这种情况，反而会把相机放下，慢慢和对方交流聊天，在一旁不紧不慢地拍，等当地人对他失去兴趣之后，才能拍到原汁原味的场景。","xe":"The third point hits home for many hobbyists: we all love photographing smiling children, night-market vendors, elders around temples. But John turns the question around — do you know the child's or the elder's name (at 3:02)? And such photos are often performances: the moment the subject sees a photographer and a camera, they put on a lens-facing expression. When that happens he puts the camera down, slowly talks with them, keeps shooting unhurriedly at the side, and only after the locals lose interest in him can he capture scenes in their original flavor."},{"t":"img","f":"v05","w":852,"h":480},{"t":"p","x":"Thomas 也坦白了自己的困惑：平时请别人拍照，一句「能不能给你拍张照」，对方的表情立刻变得不自然（视频 3:47 处）。John 给的药方是一样的——花上一两个小时和那个人聊天，在交流过程中不断地拍，让对方慢慢放下戒心、不再对镜头敏感，最真实的人文瞬间才会自己浮现（视频 3:59 与 4:09 处的例子，都是这样「聊」出来的画面）。","xe":"Thomas admitted his own frustration: ask \"may I take your photo?\" and the expression instantly stiffens (at 3:47). John's prescription is the same — spend an hour or two talking with the person, keep photographing throughout the conversation, and as they lower their guard and stop minding the lens, the most authentic documentary moments surface on their own (the examples at 3:59 and 4:09 were both \"talked into being\")."},{"t":"img","f":"v06","w":852,"h":480},{"t":"img","f":"v07","w":852,"h":480},{"t":"h","x":"04 组图的力量：让照片之间产生联系","xe":"04 The Power of the Essay: Let Photos Talk to Each Other"},{"t":"p","x":"第四点关于编辑。在游客扎堆的地方，单张照片很难出挑，这时可以利用组图的力量（视频 4:27 处）。课上的例子：一位同行摄影师拍的城市里大光圈下星星点点的灯光，和另一张星轨的放大截图，被组合在一起——两张图的内容要么是人类发出的光，要么是天空发出的光（视频 4:33 处）。各自单独看也许平淡，但编辑让它们互相注解，放在一起就变得有意思得多。这是「单张拼不过，就拼组」的思路。","xe":"The fourth point is about editing. Where tourists crowd in, a single frame rarely stands out — that is when you lean on the power of the photo essay (at 4:27). The case shown in class: a fellow participant's bokeh dots of city lights shot wide open, paired with an enlarged crop of star trails — everything in the pair is light emitted either by humans or by the sky (at 4:33). Each image alone might feel plain, but the edit makes them annotate each other, and together they turn far more interesting. When you cannot win with a single frame, win with a sequence."},{"t":"img","f":"v08","w":852,"h":480},{"t":"h","x":"05 保持童真：怪视角、废片与自己的风格","xe":"05 Stay Childlike: Odd Angles, Failed Frames and Your Own Style"},{"t":"p","x":"第五点回到心态：保持童真、保持好奇心。在大众景点，除了人人都拍的游客照，一定要去找不同的视角——哪怕看起来很怪、很实验，也要去尝试（视频 5:12 处）。一个细节很能说明 John 的眼光：他点评作业时不看学员自己选的片子，而是翻看所有人的原始文件——因为从全部照片能看到拍摄模式和习惯，而且很多自己以为是废片的照片，他会觉得特别棒。","xe":"The fifth point returns to mindset: stay childlike, stay curious. At over-photographed spots, beyond the tourist photo everyone takes, always hunt for a different angle — even if it looks weird or experimental, try it (at 5:12). One detail shows John's eye: when reviewing work he ignores the frames students selected and goes through their raw files instead — the full take reveals shooting patterns and habits, and plenty of frames the shooters wrote off as failures he finds brilliant."},{"t":"img","f":"v09","w":852,"h":480},{"t":"p","x":"视频 5:46 处就是一张这样的「废片」：朋友 Dandy 拍摄时手滑虚了焦，但两个僧人朦朦胧胧的影子反而充满了氛围感，朦胧的感觉恰好贴合宗教的主题。最终落点是个性——去西藏的寺院，人人都在拍僧人、拍转经的人，你也可以去拍自己的想法和构图（视频 6:07 处）。Thomas 把自己「火车看中国」的系列拿给 John 看，得到的也是同样的鼓励：更多地去创作有个性的作品，每个人找到自己的风格，一定不要拍得一样。","xe":"The frame at 5:46 is exactly such a \"failure\": their friend Dandy's hand slipped and the shot came out out of focus — yet the two blurry silhouettes of monks overflow with atmosphere, and that softness happens to fit the religious theme perfectly. The takeaway is individuality: in Tibetan monasteries everyone photographs monks and prayer-wheel spinners, but you can shoot your own ideas and compositions (at 6:07). Thomas showed John his \"China by Train\" series and received the same encouragement: create more personal work, find your own style, and never shoot like everyone else."},{"t":"quote","x":"1. 找到好构图后耐心等待：Signal 等了三天，西安城墙等了两三个小时，等的是人物、光线与瞬间；2. 不要为了前景而前景：前景虚化过头就失去信息量，收一点光圈让它可读；3. 深度交流才能更深度的拍摄：先知道对方的名字，聊一两个小时再拍，真实瞬间自己浮现；4. 组图编辑可以化腐朽为神奇：单张平淡的照片因彼此的联系而成立；5. 保持好奇心，从怪视角和「废片」里找自己，风格就是不要拍得一样。","xe":"1. Once you find a good composition, wait: Signal took three days, the Xi'an wall two or three hours — waiting for people, light and the moment; 2. No foreground for its own sake: over-blurred foregrounds carry no information, stop down and keep them readable; 3. Deep connection enables deeper shooting: learn a name, talk for an hour or two while shooting, and authentic moments surface on their own; 4. Essay editing turns dross into magic: plain single frames stand up through their relationships; 5. Stay curious — find yourself in odd angles and \"failed\" frames; style means never shooting like everyone else."}],"titleEn":"How Do Master Photographers Shoot? Lessons from a National Geographic Masterclass"}