{"slug":"painting-inspiration-landscape","title":"从绘画中寻找风光摄影的表达灵感","author":"Thomas看看世界","date":"2018-06-03","wechat":"https://mp.weixin.qq.com/s?__biz=MzI4NDA5MzE5NQ==&mid=2247486928&idx=1&sn=9df2322999bf2eb3ba252e034561244d&chksm=eb81f3b4dcf67aa27d72184a10a570a46dbaeca4064939c3460fe53aa742386752c4eebfef47&scene=21#wechat_redirect","blocks":[{"t":"h","x":"Thomas看看世界","xe":"Thomas Chu Photo"},{"t":"p","x":"每周一篇干货，让摄影不再难学","b":false,"xe":"One piece of solid insight every week — making photography easy to learn"},{"t":"p","x":"从风景画中汲取灵感，并不是要模仿绘画，也不是要走画意摄影的老路。而是要从不同的艺术形式中，学习其优秀的表现手法，并和摄影的特性结合，创作出更加出彩的风光照片。","b":false,"xe":"Drawing inspiration from landscape paintings does not mean imitating painting, nor returning to the old path of pictorialist photography. It means learning excellent expressive techniques from different art forms, combining them with photography's own characteristics, and creating more brilliant landscape photos."},{"t":"p","x":"在本文中，极影的潘玮浩老师，将介绍他喜欢的几位风景画家，并且从中谈谈这些绘画作品中值得借鉴的东西。","b":false,"xe":"In this article, Teacher Weihao Pan (潘玮浩) of Jiying introduces several landscape painters he admires, and discusses what in these paintings is worth borrowing."},{"t":"p","x":"首先，我们先看一下几位美国写实类风景画家的作品（以下画作图片均从网上获得）","b":false,"xe":"First, let's look at the works of several American realist landscape painters (the images of paintings below are all obtained from the internet)."},{"t":"h","x":"Thomas Cole (1801-1848年)","xe":"Thomas Cole (1801–1848)"},{"t":"p","x":"19世纪美国风景画派“哈德逊河”派的创建者，在他那里，风景成为正式的题材，而且被画得庄严宏大，在气派上不输于欧洲的历史神话那种“大绘画”，正是因为他，风景画在19世纪的美国成为一个完全独立的、而且受人欢迎的画种。","b":false,"xe":"Founder of the 19th-century American landscape school known as the \"Hudson River School.\" In his hands, landscape became a formal subject, painted with solemn grandeur — in spirit no less than Europe's \"grand paintings\" of history and myth. It was because of him that landscape painting became a fully independent and popular genre in 19th-century America."},{"t":"img","f":"img-03","w":640,"h":435},{"t":"p","x":"《The Oxbow》 1836年","b":false,"xe":"\"The Oxbow,\" 1836"},{"t":"img","f":"img-04","w":640,"h":476},{"t":"p","x":"《Sunny Morning on the Hudson River》","b":false,"xe":"《Sunny Morning on the Hudson River》"},{"t":"p","x":"1827年","b":false,"xe":"1827"},{"t":"img","f":"img-05","w":640,"h":399},{"t":"p","x":"《The Course of Empire》系列其中一张","b":false,"xe":"One piece from \"The Course of Empire\" series"},{"t":"p","x":"1833-36年","b":false,"xe":"1833–36"},{"t":"h","x":"Albert Bierstadt (1830 - 1902年)","xe":"Albert Bierstadt (1830–1902)"},{"t":"p","x":"十九世纪在美国享有盛誉的著名风景画家，也是“哈德逊河”派的一员，他以写实的手法逼真地描绘了美国西部从落基山脉到太平洋海岸边的加利福尼亚宏伟美丽的自然风光。","b":false,"xe":"A renowned landscape painter who enjoyed great fame in 19th-century America, also a member of the Hudson River School. With realist technique he vividly depicted the magnificent and beautiful natural scenery of the American West, from the Rocky Mountains to California on the Pacific coast."},{"t":"p","x":"他的作品大多以宽2两米、长3米左右的巨大画幅营造剧场式全景画面效果，充分体现了美国西部的雄奇与壮丽。","b":false,"xe":"Most of his works use huge canvases about 2 meters high and 3 meters wide to create theatrical panoramic effects, fully expressing the majesty and splendor of the American West."},{"t":"img","f":"img-06","w":640,"h":383},{"t":"p","x":"《Among the Sierra Nevada Mountains, California》1868年","b":false,"xe":"\"Among the Sierra Nevada Mountains, California,\" 1868"},{"t":"img","f":"img-07","w":640,"h":425},{"t":"p","x":"《Looking Down Yosemite Valley, California》1865年","b":false,"xe":"\"Looking Down Yosemite Valley, California,\" 1865"},{"t":"img","f":"img-08","w":640,"h":790},{"t":"p","x":"《Redwood Trees of California》1874年","b":false,"xe":"\"Redwood Trees of California,\" 1874"},{"t":"h","x":"Thomas Moran (1837 - 1926年)","xe":"Thomas Moran (1837–1926)"},{"t":"p","x":"哈德逊河派画家和艺术家，他的作品很多涉及黄石公园和大峡谷的景色。可以说黄石公园能成立的功臣里就有他，是他的画说服了美国国会议员这个地方真的足够美，非常值得保护。","b":false,"xe":"A Hudson River School painter and artist whose works often involve the scenery of Yellowstone Park and the Grand Canyon. It is fair to say he was among those who made Yellowstone Park possible — his paintings convinced members of the U.S. Congress that this place was truly beautiful enough to be worth protecting."},{"t":"p","x":"而他的画《The Grand Canyon of the Yellowstone》还被国会当时高价买去，并悬挂在国会里，是美国画家里第一个享有此项殊荣的人。","b":false,"xe":"His painting \"The Grand Canyon of the Yellowstone\" was purchased by Congress at a high price and hung in the Capitol — he was the first American painter to receive this honor."},{"t":"img","f":"img-09","w":640,"h":360},{"t":"p","x":"《The Grand Canyon of the Yellowstone》","b":false,"xe":"《The Grand Canyon of the Yellowstone》"},{"t":"p","x":"1872年","b":false,"xe":"1872"},{"t":"img","f":"img-10","w":640,"h":369},{"t":"p","x":"《The Chasm of the Colorado》1874年","b":false,"xe":"\"The Chasm of the Colorado,\" 1874"},{"t":"img","f":"img-11","w":640,"h":306},{"t":"p","x":"《Shoshone Falls on the Snake River》1900年","b":false,"xe":"\"Shoshone Falls on the Snake River,\" 1900"},{"t":"p","x":"大家也许发现这3位画家的作品都有一定程度上的接近，而且都是“哈德逊河”派代表画家。之所以挑这三位“哈德逊河”派代表性画家，是因为他们的作品都含有现今风光摄影作品所常用的表现手法。无论是构图，还是颜色用光上都非常接近。","b":false,"xe":"You may have noticed that the works of these three painters are close to one another to a certain degree — all are representative painters of the Hudson River School. The reason I chose these three is that their works all contain expressive techniques commonly used in today's landscape photography — very close in composition as well as in color and light."},{"t":"img","f":"img-12","w":152,"h":152},{"t":"h","x":"三维空间营造","xe":"Creating Three-Dimensional Space"},{"t":"img","f":"img-13","w":152,"h":152},{"t":"p","x":"从三维空间营造上看，这三位画家都利用了近景、中景、远景。同时通过塑造阴影，光线，冷暖明暗的转换，远和近的距离感去塑造一个三维立体空间感。其实无论画画还是图片，都是基于一个二维平面媒介去表现三维空间感。","b":false,"xe":"In terms of creating three-dimensional space, all three painters used foreground, middle ground, and background. At the same time, by shaping shadows, light, transitions of warm/cool and light/dark, and the sense of distance between far and near, they built a three-dimensional spatial feeling. In fact, whether painting or photography, both use a two-dimensional flat medium to express a sense of three-dimensional space."},{"t":"p","x":"现实的情况，当人走进一个场景，例如走进一个森林，人眼能迅速调节对焦，既能看远也能看近，人的眼球能不断移动去观察，这比从一个平面能看到更好的三维空间结构。所以在平面中，不管是风光绘画作品还是风光摄影作品，我们要创造的是一个三维立体空间。","b":false,"xe":"In reality, when a person walks into a scene — say, into a forest — the eye quickly adjusts focus, seeing both far and near, and the eyeballs keep moving to observe, which reveals the three-dimensional structure better than a flat image can. So on a flat surface — whether a landscape painting or a landscape photograph — what we must create is a three-dimensional space."},{"t":"p","x":"以苹果素描为例","b":false,"xe":"Take an apple sketch as an example."},{"t":"img","f":"img-14","w":640,"h":511},{"t":"p","x":"图中苹果亮度均一，仅只有点和线，是一个平面。","b":false,"xe":"In this sketch the apple has uniform brightness, with only dots and lines — it is flat."},{"t":"img","f":"img-15","w":640,"h":507},{"t":"p","x":"而上图里苹果通过塑造了阴影和光线，增添了明暗对比，马上立体感就出来了。","b":false,"xe":"But in the image above, the apple gains light and shadow, adding tonal contrast — and immediately a sense of three-dimensionality emerges."},{"t":"p","x":"回到3位画家的画。","b":false,"xe":"Back to the paintings of the three artists."},{"t":"h","x":"-构图","xe":"- Composition"},{"t":"img","f":"img-16","w":640,"h":360},{"t":"p","x":"（以Thomas Moran的这张图为例）","b":false,"xe":"(Take this painting by Thomas Moran as an example.)"},{"t":"p","x":"整个画面十分饱满，画面元素层层递进、错落有致。场面虽然宏大而元素多，但是观者并不会感觉画面混乱。不少接触过画画课程的人都知道，老师常强调的一点就是简化。","b":false,"xe":"The whole picture is very full, with elements advancing layer upon layer in well-spaced order. Although the scene is grand and rich in elements, the viewer does not find it chaotic. Many who have taken painting courses know that teachers often emphasize one point: simplify."},{"t":"p","x":"通常来说，一个画面越多细节，对于观者来说就会显得越复杂。所以如果画面没有一个引导观者的方向，很多时候观看者不知道怎样去看这个画面，没有一个中心和方向，那么这幅画面就会显得混乱和复杂了。在这点上，摄影亦如是。怎样合理安排画面元素成为构图中重中之重。","b":false,"xe":"Generally speaking, the more detail in an image, the more complex it appears to the viewer. So if a picture has no direction guiding the viewer, viewers often don't know how to look at it; without a center and a direction, the picture appears chaotic and complex. The same is true of photography. How to arrange picture elements reasonably is the top priority in composition."},{"t":"p","x":"一般来说必须要引导观看者的视觉方向，并且这个方向要保持一致。如果观看者视觉方向混乱，就会显得这张图片主体不明确。当然，画面中常都会有2到3个观看兴趣点，让观者眼睛移动。能把这2到3个观看兴趣点位置合理安排，那整个画面的质量也就上一个档次。","b":false,"xe":"Generally one must guide the viewer's visual direction, and that direction must remain consistent. If the viewer's visual direction is chaotic, the picture's subject appears unclear. Of course, a picture usually has 2 to 3 points of interest that move the viewer's eyes. If you can arrange these 2 to 3 points of interest reasonably, the quality of the whole picture rises a level."},{"t":"p","x":"假设把画面平分成左右两个部分，我们可以考虑把2到3个观看兴趣点进行左右左右相间的形式排列。正如上面Thomas Moran这张画作，红色圆圈内都景物元素都被左右左右两两相间排列。","b":false,"xe":"Suppose we split the picture into left and right halves: we can consider arranging the 2 to 3 points of interest in an alternating left-right-left-right pattern. Just as in Thomas Moran's painting above, the scenic elements inside the red circles are arranged alternately in pairs, left and right."},{"t":"p","x":"其实细心的朋友也许会发现其实本篇文章中的很多画作中都景物元素位置安排都运用了左右左右两两相间，但不混杂在一起的形式排列。这样子排列画面元素的好处是层次感非常强，空间感也容易呈现出来。","b":false,"xe":"Attentive friends may notice that many paintings in this article arrange scenic elements in alternating left-right pairs without mixing them together. The benefit of this arrangement is very strong layering, and the sense of space is easily presented."},{"t":"img","f":"img-17","w":640,"h":326},{"t":"p","x":"Thomas Moran的《Green River of Wyomin》","b":false,"xe":"Thomas Moran's \"Green River of Wyoming\""},{"t":"p","x":"很简单以倒影为例，我在户外带学员拍摄的时候经常提到的一点就是：如果单纯拍一个倒影，看起来就是一个平面。","b":false,"xe":"A simple example using reflections: when leading students shooting outdoors, one point I often mention is that shooting a reflection alone looks like a flat plane."},{"t":"p","x":"但如果有注意加入前和中景，并且注意其在画面中的位置，最好左右两两相间且互相之间互不阻碍，这样整个画面就能营造出一个三维立体空间感。正如上图Thomas Moran的倒影画作为例，他并没有单纯画一个倒影，而是利用前景和中景的加入，营造出三维立体空间感。","b":false,"xe":"But if you pay attention to including foreground and middle ground, and mind their positions in the frame — ideally in alternating left-right pairs that don't block each other — the whole picture can create a three-dimensional sense of space. Just as in Thomas Moran's reflection painting above: he did not paint a mere reflection, but used the addition of foreground and middle ground to build three-dimensional space."},{"t":"img","f":"img-18","w":640,"h":446},{"t":"img","f":"img-19","w":640,"h":476},{"t":"h","x":"-颜色","xe":"- Color"},{"t":"p","x":"很多画作其实在一开始，画者就已经定好主要颜色，然后根据主要颜色来选择其他配色进行合理的色彩搭配组合。组合中的主色概念是指画面颜色占比较大的颜色。当一个画面中有了主色，观者自然会着重于主色物体上，这能使画面有一个重点，不会杂乱无章。","b":false,"xe":"In many paintings, the painter has in fact decided on the main colors from the very start, then selected other colors accordingly for reasonable color combination. The concept of a dominant color in a combination refers to the color occupying a larger share of the picture. When a picture has a dominant color, the viewer naturally focuses on the objects of that color — giving the picture a focal point rather than disorder."},{"t":"p","x":"如Thomas Moran《The Chasm of the Colorado》这张图，整张画面色调以红褐为主色，根据光影明暗的不同，配上临近的色调。观者很容易就瞩目于这大峡谷的壮丽景色中。","b":false,"xe":"Take Thomas Moran's \"The Chasm of the Colorado\": the whole picture's tonality takes red-brown as the dominant color, paired with neighboring tones according to differences in light and shadow. The viewer easily fixes their gaze on the magnificent scenery of this grand canyon."},{"t":"p","x":"而增加冷暖色调的对比，同样也对三维立体空间感有一个显著的提升。","b":false,"xe":"And increasing the contrast between warm and cool tones likewise significantly enhances the three-dimensional sense of space."},{"t":"img","f":"img-20","w":640,"h":370},{"t":"p","x":"Albert Bierstadt 《A Storm in the Rocky Mountains》这张图充分展现了色彩冷暖调的对比。风暴中的阳光本来就是一个具有强烈对比的场景，充满戏剧性。画者想让观众视线瞩目在暖调处的地方，颇有黑暗中寻求光明的韵味。","b":false,"xe":"Albert Bierstadt's \"A Storm in the Rocky Mountains\" fully demonstrates the contrast of warm and cool color tones. Sunlight within a storm is inherently a scene of strong contrast, full of drama. The painter wants the viewer's gaze to rest on the warm-toned area — quite like seeking light within darkness."},{"t":"h","x":"-明暗度","xe":"- Lightness and Darkness"},{"t":"p","x":"有细心观察的读者应该发现这三位画家的画作都十分注重明暗之间的对比，突出主体以及亮点。","b":false,"xe":"Careful readers should have noticed that all three painters pay great attention to the contrast between light and dark, highlighting the subject and the bright spots."},{"t":"img","f":"img-21","w":640,"h":441},{"t":"p","x":"Albert Bierstadt 《Sunset in the Yosemite Valley》","b":false,"xe":"Albert Bierstadt 《Sunset in the Yosemite Valley》"},{"t":"img","f":"img-22","w":640,"h":755},{"t":"p","x":"Thomas Cole《Kaaterskill Falls》","b":false,"xe":"Thomas Cole《Kaaterskill Falls》"},{"t":"p","x":"以Albert Bierstadt和Thomas Cole这两张图为例。两张图的光感都十分强，可以说观者的视线一眼就被吸引到光亮处主体上。","b":false,"xe":"Take these two paintings by Albert Bierstadt and Thomas Cole as examples. Both have a very strong sense of light — the viewer's gaze is drawn to the illuminated subject at first sight."},{"t":"p","x":"其实人的视觉往往会被亮的东西所吸引，正如舞台灯光效果一样，我们往往只会关注于舞台上有打到灯光的亮处，而不会留意暗处。提供一个明暗对比能给予观看者一个观看方向，也就是明暗方向。","b":false,"xe":"In fact, human vision is often attracted to bright things, just like stage lighting: we tend to notice only the lit spots where light falls on stage, not the dark areas. Providing a light-dark contrast gives the viewer a viewing direction — a direction of light and dark."},{"t":"p","x":"所以我们在前期拍摄风光和后期处理的时候都要注意我们所拍摄的片子中的主体部分是否有被我想要的光线照亮？有哪些地方需要后期的加强和突出？这些都是我们拍摄风光的时候值得思考的。","b":false,"xe":"So both when shooting landscapes in the field and when processing in post, we should pay attention: is the subject of our shot illuminated by the light I want? Which places need strengthening and highlighting in post? These are all worth thinking about when we shoot landscapes."},{"t":"h","x":"-虚实对比","xe":"- Contrast of Sharpness and Blur"},{"t":"p","x":"以Albert Bierstadt两张图为例","b":false,"xe":"Take two paintings by Albert Bierstadt as examples."},{"t":"img","f":"img-23","w":640,"h":384},{"t":"p","x":"《The Rocky Mountains, Lander's Peak》","b":false,"xe":"《The Rocky Mountains, Lander's Peak》"},{"t":"p","x":"1863年","b":false,"xe":"1863"},{"t":"p","x":"《Among the Sierra Nevada Mountains, California》1868年","b":false,"xe":"\"Among the Sierra Nevada Mountains, California,\" 1868"},{"t":"p","x":"无论是风景绘画还是风光摄影作品，其实并不是所有的画面元素都要十分清晰可见，有一定的虚实对比，能营造出距离感和空间感。可以说在绘画历史上，早已有画家留意到这种虚实对比，更早地运用了“高斯模糊”等模糊的方法，使远景并不那么清晰，让观者能感受到距离感，从而进一步加强三维立体空间感。","b":false,"xe":"Whether in landscape painting or landscape photography, not all elements of the picture actually need to be crystal clear. A certain contrast of sharp and blurred can create a sense of distance and space. It can be said that long ago in painting history, painters noticed this contrast and earlier employed methods like \"Gaussian blur,\" making distant views less sharp so viewers can feel the sense of distance — further strengthening the three-dimensional sense of space."},{"t":"h","x":"有朋友可能会问，那中国风景山水画呢，我们能从中摄取到什么并运用到风光摄影上？","xe":"Some friends may ask: what about Chinese landscape painting (shanshui)? What can we absorb from it and apply to landscape photography?"},{"t":"p","x":"如果以上说的可能还是偏技巧上的东西，那下面要讨论的可能是偏深层次的东西，关于作品的情绪和情感。不管是画作还是摄影作品，情绪和情感往往能使作品有着质的飞跃。","b":false,"xe":"If the above is still mostly about technique, what we discuss next may be something deeper — the mood and emotion of a work. Whether painting or photography, mood and emotion often enable a qualitative leap in a work."},{"t":"p","x":"首先这里先要简述下中国风景画和西方风景画区别。","b":false,"xe":"First, a brief account of the difference between Chinese and Western landscape painting."},{"t":"p","x":"注意的是这里并不是评中国风景画和西方风景画哪个好哪个差，只是单纯阐述本人对于这两种画类的特点的看法。艺术并不是追求谁比谁更好，而是追求多样化，追求自我特点。","b":false,"xe":"Note: this is not about judging which of Chinese and Western landscape painting is better or worse — merely stating my own views on the characteristics of these two genres. Art is not about pursuing who is better than whom, but about pursuing diversity and one's own character."},{"t":"img","f":"img-24","w":640,"h":220},{"t":"p","x":"董源 《潇湘图》","b":false,"xe":"Dong Yuan, \"The Xiao and Xiang Rivers\" (《潇湘图》)"},{"t":"p","x":"中国的景物和山水画所表现的是一种情调和气氛，讲究要创造一种整体的意境。不同于西方画家的摹仿自然。整体意境指中国山水画不象西方风景画那样，截取景观中的某个场景片段、或某个方面加以描绘，而是以自身感情为主，通过心灵的观照，去摄取某些物象，来构成景和意境。","b":false,"xe":"What Chinese scenery and shanshui painting express is a mood and atmosphere — the emphasis is on creating an overall artistic conception, unlike Western painters' imitation of nature. By overall conception we mean that Chinese shanshui painting does not, like Western landscape painting, cut out a scene fragment or one aspect of the landscape to depict; rather, taking the painter's own feeling as primary, it absorbs certain objects through contemplation of the mind to compose scenery and artistic conception."},{"t":"p","x":"这种独特的审美观照方式，决定了中国山水画家不是直接向自然攫取并创作画面主体，而是在自然中静心养气、诱发灵感、制造氛围以及情调来体现作者的精神品格，这是中国风景山水画的精神。","b":false,"xe":"This unique way of aesthetic contemplation determines that Chinese shanshui painters do not directly seize a subject from nature to compose the picture, but instead cultivate stillness within nature, induce inspiration, and create atmosphere and mood to embody the author's spiritual character — this is the spirit of Chinese landscape painting."},{"t":"img","f":"img-25","w":640,"h":1479},{"t":"p","x":"范宽《溪山行旅图》","b":false,"xe":"Fan Kuan, \"Travelers Among Mountains and Streams\" (《溪山行旅图》)"},{"t":"p","x":"中国山水风景画的艺术魅力，还和它的创作形式有很大的关系。谈到古代中国，我们往往能联想到诗歌和书法。","b":false,"xe":"The artistic charm of Chinese shanshui painting also has much to do with its form of creation. Speaking of ancient China, we often think of poetry and calligraphy."},{"t":"p","x":"中国山水风景画很大程度上是以作诗的思维作画。所表现的内容都是画家从诗中获取的意境，所谓诗情画意就是这么个意思。这并不仅仅局限于来自视觉世界的感官印象，而是往往是超越视觉范围的，虽属于视觉艺术，却可以折现出视觉以外的内容。","b":false,"xe":"To a great extent, Chinese shanshui painting paints with the mindset of composing poetry. What it expresses are artistic conceptions the painter draws from poems — this is exactly what \"poetic feeling and pictorial sense\" (诗情画意) means. It is not confined to sensory impressions from the visual world, but often goes beyond the visual range — though a visual art, it can reveal content beyond the visual."},{"t":"p","x":"所谓“诗中有画，画中有诗”，这已成为中国山水风景画中的传统。而书法是指要求画中的笔墨，必须具有书法功底，书法意趣，因为传统中国山水风景画是以书法笔墨作为画法的基础。仅在这两点上已经和西方风景绘画形式有着根本性区别。","b":false,"xe":"As the saying goes, \"there is painting in poetry, and poetry in painting\" — this has become a tradition in Chinese shanshui painting. Calligraphy, meanwhile, requires that the brushwork in a painting possess calligraphic skill and charm, because traditional Chinese shanshui painting takes calligraphic brush-and-ink as the foundation of its method. In these two points alone it is already fundamentally different from the Western landscape painting tradition."},{"t":"img","f":"img-26","w":640,"h":442},{"t":"p","x":"李思训《江帆楼阁图》","b":false,"xe":"Li Sixun, \"River Boats and Pavilions\" (《江帆楼阁图》)"},{"t":"p","x":"西方文艺复兴之后，风景画更多的是科学地再现客观世界景观，因而，追求形式的和谐与完美，追求表现事物本身的特征，同时侧重在空间中展开，追求逼真的自然空间，反映现实景观成了西方风景画的着重点。","b":false,"xe":"After the Western Renaissance, landscape painting became more about scientifically reproducing the objective world — pursuing harmony and perfection of form, pursuing the expression of things' own characteristics, and emphasizing unfolding in space; pursuing a lifelike natural space and reflecting real landscapes became the focus of Western landscape painting."},{"t":"p","x":"西方画家是站在自然的外面研究和描写自然。他们带着写实美和油画调色盘对自然景观一笔一画地记录，比较注重于画面几何比例、色彩光线等绘画技巧，情绪和情感往往只是或多或少的被添加到画上。","b":false,"xe":"Western painters stood outside nature to study and describe it. With realist aesthetics and the oil painter's palette they recorded natural scenery stroke by stroke, paying more attention to painterly techniques like geometric proportion, color, and light — mood and emotion were often only added to the painting to a greater or lesser extent."},{"t":"p","x":"再回到摄影上，虽不像绘画一样有着巨大的自由发挥空间，相机拍摄出来的图片是对现实的记录，但是如何利用不同的前期以及后期技术重现心中的场景，本人觉得在这点上是和绘画一样的。","b":false,"xe":"Back to photography: although it lacks painting's enormous freedom — what the camera captures is a record of reality — how to use different in-camera and post techniques to recreate the scene in one's mind is, in my view, the same as painting."},{"t":"p","x":"风光摄影上我们可以像西方风格那样注重画面几何比例、色彩光线等技巧，也同样可以像中国山水风景画那样注重意境的表现，甚至可以相结合。","b":false,"xe":"In landscape photography we can, in the Western style, emphasize techniques like geometric proportion, color, and light; we can equally, like Chinese shanshui painting, emphasize the expression of artistic conception — or even combine the two."},{"t":"p","x":"个人认为情绪和情感还有意境是风光摄影中最难表现的一个部分，很多东西只能意会，不能言明，而不同人也有不一样的解读。在这点上也许我们可以多参照中国山水风景画，注重意境的表达。","b":false,"xe":"Personally, I believe mood, emotion, and artistic conception are the hardest parts to express in landscape photography. Many things can only be sensed, not spoken, and different people interpret them differently. On this point perhaps we can refer more to Chinese shanshui painting and emphasize the expression of artistic conception."},{"t":"img","f":"img-27","w":640,"h":707},{"t":"p","x":"《Ice Bamboo 冰竹》","b":false,"xe":"\"Ice Bamboo\" (《冰竹》)"},{"t":"p","x":"这是今年年初我在加拿大落基山脉拍摄到的一张独特的抽象图。这是冰封湖面上的冰结晶体，下雪之后风把雪吹进去这些冰晶体，雪困在冰晶体后形成的景观。","b":false,"xe":"This is a unique abstract image I captured in the Canadian Rockies early this year. It shows ice crystals on a frozen lake: after snowfall, wind blew snow into these ice crystals, and the snow trapped behind the crystals formed this scene."},{"t":"p","x":"在细细观察之后，我发现这一局部十分像我见过的中国画中的墨竹图，于是便拍下了这一张作品。这是一张对我而言具有独特地位的片子，也蕴含了独特的情感意义。","b":false,"xe":"After observing closely, I found this part closely resembled the ink-bamboo paintings I had seen in Chinese art — so I took this work. It is a photo of unique status for me, and it carries unique emotional meaning."},{"t":"p","x":"竹子的象征意义相信有很多朋友都了解，就是君子所应该拥有的品质，有气节、刚直不阿，不怕威逼利诱，坚持自我等。古人说“不可居无竹”，意思是自己和世俗那些追逐名利的人不一样，自己只追求自己心目中的理想。弯而不折，是柔中有刚的做人原则。竹的挺拔正直、清秀俊逸也是中国文人的人格追求。","b":false,"xe":"The symbolism of bamboo is known to many friends: the qualities a noble person (junzi) should possess — integrity, uprightness without flattery, fearlessness before coercion and temptation, persistence in being oneself. The ancients said, \"One cannot live without bamboo,\" meaning one differs from the worldly fame-and-profit chasers, pursuing only the ideal in one's heart. Bending without breaking is a life principle of firmness within gentleness. Bamboo's tall uprightness and elegant grace are also the character pursuit of Chinese literati."},{"t":"img","f":"img-28","w":640,"h":1163},{"t":"p","x":"郑燮字板桥《墨竹图》","b":false,"xe":"Zheng Xie (styled Banqiao), \"Ink Bamboo\" (《墨竹图》)"},{"t":"p","x":"其实不管风景绘画作品还是风光摄影作品，很多时候只是为了表达某一个瞬间的感觉，可以是带有愉悦的情绪，可以是深沉的情绪，同样也可以是表达自己的精神品格。","b":false,"xe":"In fact, whether landscape painting or landscape photography, very often the work exists only to express the feeling of a certain moment — it can carry a joyful mood, a deep and heavy mood, and it can likewise express one's spiritual character."},{"t":"p","x":"这种朦胧不清、不能言明的感觉也正是这些风景绘画作品和风光摄影作品的魅力，因为不同的观者可以有不同的解读，而这恰恰也是艺术的魅力。","b":false,"xe":"This hazy, inexpressible feeling is exactly the charm of these landscape paintings and landscape photographs, because different viewers can have different interpretations — and that, precisely, is the charm of art."},{"t":"p","x":"最后，十分建议喜欢风光摄影的朋友多看看绘画作品，不一定只看写实类风景画，也可以是其他抽象的画作。在看这些画作的过程中，我相信你能受到不少启发。","b":false,"xe":"Finally, I strongly recommend that friends who love landscape photography look at more paintings — not necessarily only realist landscapes, but also other abstract works. In the process of viewing these paintings, I believe you will gain no little inspiration."}],"titleEn":"Finding Landscape Photography Inspiration in Painting"}