{"slug":"not-just-details-technique","title":"推荐 | 摄影作品绝不是细节和技术的堆砌","author":"Thomas看看世界","date":"2017-01-25","wechat":"https://mp.weixin.qq.com/s?__biz=MzI4NDA5MzE5NQ==&mid=2247484960&idx=1&sn=61387be565d9d38c907e859a679e95df&chksm=eb81f844dcf67152829bc55aad995fb786386010b07b4d75bc0123e7a174a850193b00d6640e&scene=21#wechat_redirect","blocks":[{"t":"p","x":"摄影作品绝不是细节和技术的堆砌，而是故事和情感的传达。读者不是在看画，而是在试图看懂一个故事、感受一种氛围。","b":false,"xe":"A photographic work is never a pile-up of details and techniques — it is the conveyance of story and emotion. The viewer is not looking at a picture; they are trying to understand a story and feel an atmosphere."},{"t":"p","x":"作为国际级的摄影评委，John Fan老师的这篇文章《读者的视觉，人性的共鸣》，相信能给大家带来很多启发。","b":false,"xe":"This article, \"The Viewer's Vision, the Resonance of Humanity\" (《读者的视觉，人性的共鸣》) by international photography judge John Fan, will surely bring you much inspiration."},{"t":"img","f":"img-02","w":1000,"h":567},{"t":"p","x":"（摄影师：Max Rive，maxrive.tuchong.com。文中未标注照片为John Fan老师作品，其余新增配图均得到摄影师本人授权）","b":false,"xe":"(Photographer: Max Rive, maxrive.tuchong.com. Unless otherwise credited, the photos in this article are John Fan's works; all other added images are used with the photographers' authorization.)"},{"t":"p","x":"摄影是视觉的语言，一张摄影作品存在的目的就是拿去给读者欣赏，尽管这读者也许就是作者自己。 所以讲摄影的构图就必须讲读者的视觉。","b":false,"xe":"Photography is a visual language. The purpose of a photographic work's existence is to be appreciated by viewers — even if that viewer is the author himself. So to talk about photographic composition, we must talk about the viewer's vision."},{"t":"p","x":"人眼近似于一个22 - 24毫米的镜头。 光线经过眼睛，聚焦在视网膜上形成人所看见的图像。 视网膜是个很了不起的传感器。 它的静态宽容度大概只有10档，和低档数码相机差不多。","b":false,"xe":"The human eye is roughly equivalent to a 22–24mm lens. Light passes through the eye and focuses on the retina to form the image we see. The retina is a remarkable sensor. Its static dynamic range is only about 10 stops — about the same as a low-end digital camera."},{"t":"p","x":"但是人眼不断在扫描，并在扫描的同时根据外界的明暗调整瞳孔。 经过动态调整的人眼，宽容度可以高达24档，远远超过任何现代相机的传感器。不仅如此，人眼能够分辨一千万种颜色。","b":false,"xe":"But the human eye constantly scans, adjusting the pupil according to external brightness as it scans. With dynamic adjustment, the eye's dynamic range can reach up to 24 stops, far exceeding any modern camera sensor. Moreover, the human eye can distinguish ten million colors."},{"t":"p","x":"很多初学者往往为一张摄影的“真实性”争得不可开交。 其实这样的争论没有绝对的意义，因为任何相机要真正地记录人眼所看见的“真实”画面，必须经过后期合成。","b":false,"xe":"Many beginners argue endlessly over a photograph's \"authenticity.\" In fact, such debate has no absolute meaning, because for any camera to truly record the \"real\" scene seen by the human eye, compositing in post is unavoidable."},{"t":"img","f":"img-03","w":1000,"h":596},{"t":"p","x":"（摄影师：曼联，manunited.tuchong.com）","b":false,"xe":"(Photographer: 曼联, manunited.tuchong.com)"},{"t":"p","x":"那么人眼所看见的画面就“真实”吗？ 人的视网膜只有中间1.5毫米直径的“中央窝”是高像素的传感器，周边部分离中心越远分辨率就越低，而且近乎色盲。最高分辨率的视野只有一度左右。 要看清一个画面，人眼必须不断转动，用中央窝来记录一张张小图，再经过大脑的后处理拼图合成一个大图。","b":false,"xe":"Then is the picture seen by the human eye \"real\"? On the human retina, only the central 1.5mm-diameter \"fovea\" is a high-resolution sensor; the farther from the center, the lower the resolution — and it is nearly color-blind. The highest-resolution field of view is only about one degree. To see a scene clearly, the eye must keep turning, using the fovea to record small patches one by one, which the brain then stitches together into a large image in post-processing."},{"t":"p","x":"存入脑海的图像，已经不是人眼里的原始状态了。 所以后期是人眼和摄影都必须经过的环节。 一个摄影者如果不做后期，在亚当斯时代就已经不是一件值得炫耀的事情，更不用说是在今天。","b":false,"xe":"The image stored in the mind is no longer the raw state in the eye. So post-processing is a stage that both the human eye and photography must go through. For a photographer to skip post-processing was not something worth bragging about even in Ansel Adams's era — let alone today."},{"t":"p","x":"当一个人看见画的一刹那，他并不能马上看见画的全部细节，而是要用眼睛极窄的视野不停地扫描画面。 这就决定了人的注意力在一个特定瞬间只能是集中在一个点上。 要研究摄影的构图，必须要搞清楚人眼的视线移动规律。","b":false,"xe":"The moment a person sees a picture, they cannot immediately see all its details; they must scan the picture continuously with the eye's extremely narrow field of view. This determines that human attention at any given instant can focus on only one point. To study photographic composition, we must first understand the movement patterns of the human gaze."},{"t":"p","x":"Alfred Yarbus是一个苏联的心理学家。 他在上世纪50到60年代对人的视觉做了大量研究。他发明了一套仪器，给许多志愿者戴上，并用俄国画家Ilya Efimovich Repin的一副画来研究每个看画的志愿者的视线轨迹。","b":false,"xe":"Alfred Yarbus was a Soviet psychologist. In the 1950s and 60s he conducted extensive research on human vision. He invented an apparatus, had many volunteers wear it, and used a painting by the Russian painter Ilya Efimovich Repin to study the gaze trajectories of every volunteer who viewed it."},{"t":"img","f":"img-04","w":1000,"h":978},{"t":"p","x":"Alfred Yarbus发现人的视线会被吸引到细节和反差丰富并充满信息的兴趣点上。 不仅如此，他还进一步发现信息丰富并不是视觉停留的主要原因，读者是在试图从这些兴趣点上看懂画的内容。当视线从画中一个人的面部跳跃到另一个人的面部，读者的不是在看画，而是在试图看懂一个故事。","b":false,"xe":"Alfred Yarbus found that the human gaze is drawn to points of interest rich in detail and contrast, full of information. Moreover, he further discovered that information richness is not the main reason the gaze lingers — the viewer is trying to understand the picture's content from those points of interest. When the gaze jumps from one person's face in the painting to another's, the viewer is not looking at a picture, but trying to understand a story."},{"t":"img","f":"img-05","w":1000,"h":978},{"t":"p","x":"网络时代的一张作品，读者只会给半秒钟的机会。 一张成功的摄影作品，并不简单是细节和反差的堆砌。 它必须要抓住稍纵即逝的黄金半秒，引导读者的视线进入主题，而不是把读者的宝贵时间浪费在不该停留的地方。没有争取到起初的半秒钟，读者的视觉便会立刻离开画面而去。","b":false,"xe":"In the internet age, a viewer gives a work only half a second. A successful photographic work is not simply a pile-up of detail and contrast. It must seize that fleeting golden half-second and guide the viewer's gaze into the subject, rather than wasting the viewer's precious time where they shouldn't linger. Fail to win that first half-second, and the viewer's vision will immediately leave the frame."},{"t":"p","x":"绘画是加法，一个绘画者会主动地选择与主题相吻合的元素从无到有地画上去，绝不会浪费精力去画一些可有可无的东西。 摄影的过程则是个减法，现实世界充满了兴趣点，摄影者的责任是留下与主题相符的元素而排除无用的兴趣点。","b":false,"xe":"Painting is addition: a painter actively chooses elements consistent with the theme and paints them from nothing, never wasting energy on dispensable things. Photography, by contrast, is subtraction: the real world is full of points of interest, and the photographer's responsibility is to keep the elements consistent with the theme and exclude useless ones."},{"t":"img","f":"img-06","w":1000,"h":667},{"t":"p","x":"（摄影师：Pan Weihao，panweihao.tuchong.com）","b":false,"xe":"(Photographer: Pan Weihao, panweihao.tuchong.com)"},{"t":"p","x":"初学者所犯的错误往往就在于画面的取舍：包括太多不相关的元素，为细节而细节，为色彩而色彩，为焦味而焦味。 任何艺术创作的原则都是内容决定形式，而不是本末倒置。","b":true,"xe":"Beginners' mistakes often lie in what they keep and what they cut: including too many irrelevant elements — detail for detail's sake, color for color's sake, blur for blur's sake. The principle of all artistic creation is that content determines form, not the other way around."},{"t":"p","x":"画面里兴趣点的排列组合就是构图。 构图的目的便是合理地安排这些元素，突出主题，留住读者的视线。","b":false,"xe":"The arrangement and combination of points of interest in the frame is composition. The purpose of composition is to arrange these elements reasonably, highlight the theme, and hold the viewer's gaze."},{"t":"img","f":"img-07","w":1000,"h":664},{"t":"p","x":"（摄影师：Thomas看看世界，thomaskksj.tuchong.com）","b":false,"xe":"(Photographer: Thomas Chu Photo, thomaskksj.tuchong.com)"},{"t":"p","x":"以前反复讲到一件摄影作品成功的要素之一就是震撼力。 何为震撼力？ 摄影既是视觉的语言，这里说的震撼当然便是视觉上的冲击，简单说来无非就是作品让读者看了心动。","b":false,"xe":"I have repeatedly said before that one of the keys to a successful photographic work is its impact. What is impact? Since photography is a visual language, the impact spoken of here is of course visual — simply put, it is nothing more than a work that moves the viewer's heart."},{"t":"p","x":"一个成功的风光和自然摄影师可以使用很多手段造成视觉冲击力: 比如捕捉独特的光色和气候等环境元素和动物界的精彩瞬间造成视觉的震撼；利用超广角，超长焦，微距，包围曝光，HDR等等超越读者视觉习惯的夸张手段吸引读者的注意力；使用各种巧妙的构图手法体现超越读者想象的张力。","b":false,"xe":"A successful landscape and nature photographer can use many means to create visual impact: capturing unique light, color, climate, and other environmental elements, plus brilliant moments of the animal world, to shake the viewer visually; using exaggerated means beyond the viewer's visual habits — ultra-wide angle, super telephoto, macro, bracketed exposure, HDR, and so on — to attract attention; and employing all kinds of ingenious composition techniques to express tension beyond the viewer's imagination."},{"t":"p","x":"但是读者感受到的震撼力，除了这些爆炸性的冲击波之外，往往还来自普普通通的氛围，涓涓流水般的触摸。 这种似曾相识的感觉，往往能满足读者心灵深处的某种渴望。","b":false,"xe":"But the impact a viewer feels often comes not only from these explosive shock waves, but also from an ordinary atmosphere — a touch like a trickling stream. This sense of déjà vu often satisfies some longing deep in the viewer's soul."},{"t":"img","f":"img-08","w":1000,"h":714},{"t":"p","x":"（摄影师：史炎冰，tuchong.com/408037/）","b":false,"xe":"(Photographer: 史炎冰, tuchong.com/408037/)"},{"t":"p","x":"对于一个人（读者）来说，哪些物体最是似曾相识呢？ 第一便是人。人与人之间的共鸣是与生俱来的共性，无与伦比。 北美的风光摄影一般要求作品中杜绝人的痕迹(hand of man)。 这样做是因为人在画面中出现，无论多么渺小，人所带来的视觉吸引力是其它自然界物质所难以匹配的，这必然使之成为作品的主体。","b":false,"xe":"For a person (the viewer), which objects are most familiar? First of all, people. The resonance between people is an innate commonality, unmatched by anything else. North American landscape photography generally requires works to exclude traces of people (the hand of man). This is because once a person appears in the frame, no matter how tiny, the visual attraction they bring is unmatched by any other natural substance — they inevitably become the subject of the work."},{"t":"p","x":"这样的风光作品已经不能算是纯粹的风光摄影。 但是人也是天地万物之一，不一定非要站在自然界的对立面不可。 一个摄影师如果恰当地利用人在风光里的地位，往往会给作品带来意想不到的震撼。","b":false,"xe":"Such a landscape work can no longer be considered pure landscape photography. But people are also part of all things under heaven and earth — they need not stand in opposition to nature. If a photographer makes proper use of the human presence within a landscape, it often brings unexpected impact to the work."},{"t":"p","x":"这是犹他州的一处石壁，我有意识地让人出现在景中。尽管人在画面里已经小到不能再小，人与人之间强烈的共鸣让读者第一眼的注意力便是洞中之人，而不是石壁。人与人之间共性，又让读者毫无疑问地了解到画中之人的尺寸，随之而来所领略到的便是这片峭壁的壮观气势。 没有这个人，读者把它当作路边的一块顽石也未尝可知呢。","b":false,"xe":"This is a rock wall in Utah, where I deliberately let a person appear in the scene. Although the person is already as small as can be in the frame, the strong resonance between people makes the viewer's first attention fall on the person in the cave rather than the rock wall. The commonality between people also lets the viewer immediately grasp the person's size — and what follows is an appreciation of the cliff's magnificent scale. Without this person, the viewer might well have taken it for a roadside boulder."},{"t":"img","f":"img-09","w":667,"h":1000},{"t":"p","x":"似曾相识的共鸣，也可来自身边似曾相识的景物所特有的亲切感。 今天我们远涉重洋，追寻人所未见的景物，往往却忽略了身边平凡的奇妙。","b":false,"xe":"The resonance of familiarity can also come from the intimacy of familiar scenes around us. Today we travel across oceans chasing sights no one has seen, yet often overlook the ordinary wonders beside us."},{"t":"p","x":"秋色便在眼前。 家门口的一片红叶，没学摄影时觉得好看，摄影进步了反而觉得它平凡。 但是这时候再静下心来领会，发现造物者并非厚此薄彼，知秋一叶便可，何须舍近求远？ 我们往往说一张作品接地气，便是指这种给读者的似曾相识的亲切感。这秋色便在读者的后院。","b":false,"xe":"Autumn colors are right before our eyes. A red leaf at our doorstep — before learning photography we thought it beautiful; after improving at photography we instead find it ordinary. But calm down and appreciate it again, and you will find the Creator did not favor one over another: a single leaf reveals autumn — why seek far and wide? When we say a work is \"down to earth,\" we mean exactly this intimacy of familiarity it gives the viewer. This autumn color is in the viewer's own backyard."},{"t":"p","x":"我往往惊讶于读者在我网站上购买作品时的选择，接地气的平凡景物，往往是我最受欢迎的作品。作品里的一草一木一个生灵，已经不是我的，是读者身边的。始于平凡，归于平凡，世上最平凡又最深刻的毕竟还是人性。","b":false,"xe":"I am often surprised by viewers' choices when purchasing works from my website: the down-to-earth, ordinary scenes are often my most popular works. Every plant and every living creature in the works is no longer mine — it belongs beside the viewer. Beginning in the ordinary and returning to the ordinary — the most ordinary yet most profound thing in the world is, after all, humanity."},{"t":"img","f":"img-10","w":667,"h":1000},{"t":"p","x":"读者在观赏一幅作品往往要找出一个故事。 这个故事是作者的原意还是读者自己赋予的故事已经是无关紧要。 一个成功的摄影师会尽量在作品里包含着故事性。 当读者从作品里看出了自己内心的故事，随之而来的冲击力便是经久不衰的。","b":false,"xe":"When viewing a work, viewers often look for a story. Whether that story is the author's original intent or one the viewer bestows upon it no longer matters. A successful photographer tries to include storytelling in the work. When viewers see the story of their own hearts in the work, the impact that follows is long-lasting."},{"t":"p","x":"同样是附近接地气的北国景色。 我从河边的冰，看到了孩童戏水的脚。 当我把它呈现在作品里，便会引发读者无穷的遐思。 两个孩子在干什么？ 大概是一个男孩和一个女孩？ 怎么只见到三只脚，还有一只呢？ 最后的故事可能已经不是我的，而是读者自己的。 摄影是视觉的艺术，引发读者遐思而留住了读者的视线，便是成功的作品。","b":false,"xe":"This, too, is a down-to-earth northern scene nearby. From the ice by the river, I saw children's feet playing in water. When I present it in a work, it triggers endless reverie in viewers. What are the two children doing? Probably a boy and a girl? Why are only three feet visible — where is the fourth? The final story may no longer be mine, but the viewer's own. Photography is a visual art: triggering the viewer's reverie and holding their gaze — that is a successful work."},{"t":"img","f":"img-11","w":1000,"h":500},{"t":"p","x":"风光摄影有人性化的共鸣，野生动物摄影的故事性便更是重中之重。 没有故事的野生动物摄影与纪录片没有什么区别，就像四光圈的杰夫老师常说的“一只呆鸟”和“一只会飞的呆鸟”而已。","b":false,"xe":"Landscape photography has humanized resonance; the storytelling of wildlife photography is even more of a top priority. Wildlife photography without a story is no different from documentary footage — as Teacher Jef (杰夫) of Four Apertures often says, it's just the difference between \"a dull bird\" and \"a flying dull bird.\""},{"t":"p","x":"东非草原的一对斑马，本来是一对与人类无关联的生物。 有了它们的互动，便有了人性化的故事。 也许它们正在你死我活的打斗之中，但是这一瞬间给人的却是温馨。 读者不是在看斑马的真实故事，而是把自己的故事赋予了这对斑马。 有了读者自己的故事，作品便有了深度，作品里的生物也便具有了作者和读者所倾注的人性。","b":false,"xe":"A pair of zebras on the East African savanna were originally creatures unrelated to humans. With their interaction, a humanized story emerges. Perhaps they are in a life-and-death fight, yet this instant gives a feeling of warmth. The viewer is not watching the zebras' true story — they are bestowing their own story upon the pair. With the viewer's own story, the work gains depth, and the creatures in it take on the humanity poured in by both author and viewer."},{"t":"img","f":"img-12","w":1000,"h":667},{"t":"p","x":"风光和野生动物都是非人性之物，初学者往往只见山前之景，不见山中之意。 不要走马观花地去记录。 静下心来去体会，你会感觉到万物之中上天所赐与的丰富灵性。 当这种灵性与你和读者相通的时候，你便将人性赋予了你的作品，再以你的作品去震撼每一个读者心灵。","b":false,"xe":"Landscapes and wildlife are both non-human subjects; beginners often see only the scene before the mountain, not the meaning within it. Don't record in a hurry like a tourist on a whirlwind visit. Calm down and feel, and you will sense the rich spirituality bestowed by heaven upon all things. When that spirituality connects you with your viewers, you have endowed your work with humanity — and through your work you can shake every viewer's soul."},{"t":"h","x":"作者","xe":"About the Author"},{"t":"img","f":"img-13","w":300,"h":300},{"t":"h","x":"▲ John Fan（范朝亮）","xe":"▲ John Fan (范朝亮)"},{"t":"p","x":"著名旅美风光摄影师","b":false,"xe":"Renowned US-based landscape photographer"},{"t":"p","x":"顶级摄影网站1x.com评委","b":false,"xe":"Judge at the top photography website 1x.com"},{"t":"p","x":"四光圈成员","b":false,"xe":"Member of Four Apertures (四光圈)"},{"t":"p","x":"个人网站： johnfanphotography.com","b":false,"xe":"Personal website: johnfanphotography.com"},{"t":"p","x":"感谢范老师的精彩文章，摄影作品绝不是细节和技术的堆砌，而是故事和情感的传达。读者不是在看画，而是在试图看懂一个故事、感受一种氛围。摄影师要学会引导读者的视觉，引发观者的共鸣。","b":false,"xe":"Thanks to Teacher Fan for this brilliant article. A photographic work is never a pile-up of details and techniques — it is the conveyance of story and emotion. The viewer is not looking at a picture; they are trying to understand a story and feel an atmosphere. A photographer must learn to guide the viewer's vision and evoke the viewer's resonance."},{"t":"p","x":"关注@Thomas看看世界，每周学会一个摄影技能。","b":false,"xe":"Follow @Thomas Chu Photo, and learn one photography skill every week."},{"t":"p","x":"如果您觉得本文有用，就把它分享给更多朋友吧。","b":false,"xe":"If you found this article useful, please share it with more friends."}],"titleEn":"A Photograph Is Not a Pile of Details and Technique"}