{"slug":"photo-depth-3-tips","title":"为什么我的照片没有层次感？这三点让摄影作品大变样！","author":"Thomas看看世界","date":"2020-09-20","wechat":"https://mp.weixin.qq.com/s?__biz=MzI4NDA5MzE5NQ==&mid=2247491495&idx=1&sn=14ce8e760b6e2998f2abb94c57c3479e&chksm=eb81e1c3dcf668d579f0ea4853a0d8be170889e3e8f1e581c80b643afd478db45873adf42334&scene=21#wechat_redirect","blocks":[{"t":"h","x":"Thomas看看世界","xe":"Thomas Chu Photo"},{"t":"p","x":"摄影爱好者常常会遇到一个问题，就是别人的照片看起来特别的有层次，但自己的照片总是显得很平，缺乏纵深感。","b":false,"xe":"Photographers often run into this problem: other people's photos look wonderfully layered, while their own look flat and lack a sense of depth."},{"t":"p","x":"今天Thomas就会与大家一起分析杉本博司、Gregory Crewdson、Max Rive等著名摄影师的作品，看看他们照片中的层次感究竟是从何而来？","b":false,"xe":"Today, Thomas will analyze the works of renowned photographers such as Hiroshi Sugimoto, Gregory Crewdson and Max Rive — where exactly does the depth in their images come from?"},{"t":"img","f":"img-02","w":1080,"h":675},{"t":"h","x":"视频教程","xe":"Video Tutorial"},{"t":"bili","bv":"BV1Ht4y1q7m8","bpic":"bili-1","bt":"为什么我的照片没有层次感？做到这三点让摄影作品立马不同！"},{"t":"p","x":"这一篇是上面视频的完整图文整理。为什么大师的照片看起来层次丰富、立体纵深，而我们自己拍的照片总是显得很平？Thomas 把 15 分钟教程里的分析浓缩成了三个来源——构图上的结构、遮挡与透视，影调上的明暗与清晰度变化，以及色彩与区域的相关性，并用 Gregory Crewdson、杉本博司、Max Rive 三位摄影师的作品和自己的实拍案例逐一拆解。适合先读图建立框架，再回视频听细节。","xe":"This is the fully illustrated companion to the video above. Why do the masters' photos look layered and three-dimensional while ours fall flat? In this 15-minute tutorial Thomas distills depth into three sources — structure, occlusion and perspective in composition; variation in brightness and clarity; and the correlation between color and region — unpacking each with works by Gregory Crewdson, Hiroshi Sugimoto and Max Rive, plus his own field examples. Skim it here for the framework, then dive into the video for the details.","b":false},{"t":"p","x":"先看总览。下面这张要点页截自视频 0:50 处，是整期教程的三条主线——照片缺少结构、遮挡与透视；明暗与清晰度缺少变化；色彩没有和区域形成强关联。下文逐一展开。","xe":"Start with the overview: this summary slide, captured at 0:50 in the video, lays out the three threads of the whole tutorial — photos lacking structure, occlusion and perspective; lacking variation in brightness and clarity; and colors not strongly tied to regions. Each is unpacked below."},{"t":"img","f":"v01","w":768,"h":480},{"t":"h","x":"01 构图层面：结构、遮挡与透视","xe":"01 Composition: Structure, Occlusion and Perspective"},{"t":"p","x":"层次感的第一个来源是画面结构。视频 0:24 处，Thomas 指出很多照片太平，是因为构图太简单——缺少遮挡、缺少透视、缺少线条的引导。他用来示范的第一位大师，是美国摄影师 Gregory Crewdson（格利高里·克鲁德逊）：他以电影摄制的方式拍照，置景、模特、灯光全部提前安排，画面中的每个细节都是摄影师故意放在那儿的（视频 1:15 处）。正因为如此，他的作品是分析「刻意构造层次」的最好样本。","xe":"The first source of depth is pictorial structure. At 0:24 in the video, Thomas points out that many photos fall flat because the composition is too simple — no occlusion, no perspective, no leading lines. His first master example is the American photographer Gregory Crewdson, who shoots the way films are made: sets, models and lighting are all arranged in advance, and every detail in the frame is placed there deliberately by the photographer (at 1:15 in the video). That is exactly why his work is the perfect specimen for studying intentionally constructed depth."},{"t":"img","f":"v02","w":768,"h":480},{"t":"p","x":"细看上面这张作品的构图：一道门，门里是一个宽广的空间，桌边坐着一对母子；他们身后还有第二道门，门后又是另一个空间；左右各通一道门，更远处还有一扇窗子，窗子后面还有一栋被照亮的建筑（视频 1:55 处）。摄影师没有直接摆一张桌子交代主题，而是对空间层次做了精心构造——一道门、两道门、副门、窗子层层嵌套，空间感因此极具延伸性。下一张作品更进一步：除门窗之外还用上了镜子，并从侧面拍摄，透视效应非常明显，整个画面显得格外三维（视频 2:38 处）。","xe":"Study the composition of the work above: a doorway, beyond it a broad room with a mother and child at the table; behind them a second doorway opening into yet another space; side doors on the left and right, and further back a window with an illuminated building beyond it (at 1:55 in the video). Instead of simply placing a table to state the subject, the photographer meticulously constructed layers of space — door after door, side doors and windows nested one inside another, giving the composition a remarkably extensible sense of depth. The next work goes further: besides doors and windows a mirror joins in, shot from the side so the perspective effect is unmistakable and the whole scene reads intensely three-dimensional (at 2:38 in the video)."},{"t":"img","f":"v03","w":768,"h":480},{"t":"h","x":"02 前期实战：把结构用进构图","xe":"02 In the Field: Putting Structure into Practice"},{"t":"p","x":"这套思路怎么用到自己的拍摄里？Thomas 先给了两个城市案例。拍上海雨夜时，左边手机直出的画面只是普通游客视角，稍显平淡；右边则是仔细构图、等待时机抓到的一张——除了影调更有层次，关键是他特意在前景撑了一把伞当道具，伞又创造了新的一层空间，再等一个行人走进来，人物与影子构成又一层（视频 4:03 处）。靠画面结构和物体的安排，照片立刻变得立体。","xe":"How do you apply this to your own shooting? Thomas starts with two city examples. For his Shanghai rainy-night shot, the phone snapshot on the left is just an ordinary tourist view, a bit bland; the one on the right was carefully composed and timed — beyond its richer tonal layering, the key is an umbrella he held in the foreground as a prop, creating yet another layer of space, and then a passer-by walking in, whose figure and shadow added one more (at 4:03 in the video). Structure and the deliberate arrangement of objects instantly made the image dimensional."},{"t":"img","f":"v04","w":768,"h":480},{"t":"p","x":"风光也一样。在印尼布罗莫火山，普通游客视角拍出来非常平淡、缺少层次；Thomas 找到一棵树，让它正好形成框架，而且树本身非常立体，之后再配合明暗和色彩的结构（下一章会讲）把层次进一步拉开（视频 4:50 处）。同样的场景、同样的日出日落光线，带来的感觉完全不同。他还分享了在火车上拍摄的一组照片：正午顶光很难做影调和色彩的区分，但仍然可以纯靠构图分出层次（视频 5:52 处）。","xe":"Landscapes work the same way. at Mount Bromo in Indonesia, the ordinary tourist view comes out utterly flat and depthless; Thomas found a tree that happened to form a frame — and a strongly sculptural tree at that — then pushed the separation further with the tonal and color structure covered in the next chapter (at 4:50 in the video). Same scene, same sunrise light, completely different feeling. He also shares a series shot from a train: at noon under harsh overhead light it is hard to separate tones and colors, yet you can still build depth through composition alone (at 5:52 in the video)."},{"t":"img","f":"v05","w":768,"h":480},{"t":"p","x":"这组火车照片里有大量可复用的技巧：用一扇车窗加一只手做道具，等一个行人跑过街道（视频 5:30 处）；车窗和窗外的道路形成「多重世界」，而窗外的风景本身就一段路基、一段草地、一段雪山、一段蓝天，是层层递进的地质关系（视频 6:08 处）；前景里故意安排的旅行箱一箱一箱互相遮挡、往后叠加，形成强烈的空气感；再往下压一个倾角拍摄，让座椅和桌子呈现近宽远窄的透视，车厢内又多出一层空间（视频 6:38 处）。无论风景、电影感街拍还是人像，都可以靠道具、置景和临场发挥，找到不一样的结构与构图。","xe":"This train series is packed with reusable tricks: a window plus one hand as a prop, waiting for a passer-by to run down the street (at 5:30 in the video); the window and the road outside forming a frame-within-frame \"multiple worlds\", while the view itself stacks into layered strata — roadbed, then grass, then snow mountains, then blue sky (at 6:08 in the video); suitcases deliberately arranged in the foreground, occluding one another and receding in sequence to create a strong sense of aerial perspective; and a downward tilt that makes the seats and tables show near-wide, far-narrow perspective, adding another layer inside the carriage itself (at 6:38 in the video). Whether landscapes, cinematic street scenes or portraits, props, staging and improvisation can always uncover fresh structure and composition."},{"t":"img","f":"v06","w":768,"h":480},{"t":"img","f":"v07","w":768,"h":480},{"t":"h","x":"03 影调层面：明暗与清晰度的变化","xe":"03 Tone: Variation in Brightness and Clarity"},{"t":"p","x":"第二个层次感来源是明暗和清晰度的变化（视频 7:19 处）。Thomas 用杉本博司拍摄博物馆置景的黑白作品来示范：虽然是黑白照片，空间感却极其强烈——外面一圈树木的剪影非常黑，中间的树浅了一些，远处的山更浅，最高的山峰再浅一些，最后到天空，是最浅的浅灰。这种层层递进的明暗关系，就是照片纵深的来源（视频 7:46 处）。通常是近暗远亮，但反过来也成立：比如云层透出一束光把近处打亮，远处是乌云密布、黑漆漆的雪山，同样层次分明。","xe":"The second source of depth is variation in brightness and clarity (at 7:19 in the video). Thomas demonstrates with Hiroshi Sugimoto's black-and-white photographs of museum dioramas: although monochrome, the spatial feel is overwhelmingly strong — the silhouetted trees around the edge are pitch black, the mid-ground trees a shade lighter, the distant mountains lighter still, the highest peak lighter yet, and finally the sky the palest gray of all. This progressive tonal gradation is where the depth comes from (at 7:46 in the video). Dark-near, bright-far is the usual order, but the reverse works too: a beam of light breaking through clouds to lift the foreground, with brooding, pitch-dark snow mountains behind, reads just as layered."},{"t":"img","f":"v08","w":768,"h":480},{"t":"p","x":"Thomas 拿出自己一张村庄照片的原片：拍摄时明明是一个从近到远、非常广阔的三维空间，显示在二维画面上却像个平面，毫无层次（视频 8:54 处）。他在视频里直接打开了这张照片的 PSD 文件演示后期：先把最远处做出选区，反复提亮并加模糊，让远处更亮更虚，近远层次一下子拉开；再做羽化让过渡自然；然后降低绿色的饱和度，把中间区域稍微压暗做出阴影，给画面增加一些冷色；最后把左上角进一步提亮、右下角进一步压暗——整张照片从右下角到左上角，形成不断变模糊、不断由暗变亮的渐变（视频 9:32 处）。前后对比非常明显。","xe":"Thomas then pulls up the original of one of his village photos: shot in a vast, near-to-far three-dimensional space, yet on the flat image it reads as exactly that — flat, with no depth (at 8:54 in the video). In the video he opens the photo's PSD file and walks through the edit: first he selects the far distance and brightens it repeatedly while adding blur, making the background brighter and softer so the near-far layers snap apart; he feathers the transition so it flows naturally; then desaturates the greens, darkens the mid-ground slightly to build shadow, and cools the image; finally he lifts the top-left corner further and darkens the bottom-right — the whole picture becomes a gradient from bottom-right to top-left, growing progressively blurrier and brighter (at 9:32 in the video). The before-and-after is striking."},{"t":"img","f":"v09","w":768,"h":480},{"t":"img","f":"v10","w":768,"h":480},{"t":"h","x":"04 色彩层面：色彩与区域的相关性","xe":"04 Color: Tying Colors to Regions"},{"t":"p","x":"最后一个重要来源，是色彩和区域的相关性（视频 10:38 处）。荷兰摄影师 Max Rive（马克思·赖夫）的作品是最直观的示范：近处有一个结构与框架，同时近处非常暗、呈冷色调，而远处的雪山是暖色调、偏亮的状态——明暗与色彩的双重分离，给层次感提供了强烈的视觉提示（视频 10:44 处）。","xe":"The last major source is the correlation between color and region (at 10:38 in the video). The Dutch photographer Max Rive offers the most intuitive demonstration: the foreground holds a structure, a frame — and it is dark and cool-toned, while the snow mountains beyond are warm-toned and bright — a double separation of tone and color that gives depth a powerful visual cue (at 10:44 in the video)."},{"t":"img","f":"v11","w":768,"h":480},{"t":"p","x":"更复杂的做法是冷暖交替。在另一张作品里，最前景偏冷色，山峰被照亮的一块偏暖色，后面阴影处又是冷色——阴影冷、高光暖、阴影冷、高光暖，一层一层交替着往远处推；最后天空从暖色过渡到冷色。Thomas 特别强调天空这个细节：如果天空全是暖色就只有一层，但现在由冷过渡到暖，你会感觉上面的天空离你近一点、黄色的天空远一点，层次立刻出来（视频 11:12 处）。这位摄影师还会根据画面原有的光线方向分离：右边整体压暗偏冷，左边整体提亮偏暖，左右层次也就拉出来了（视频 12:00 处）。","xe":"A more sophisticated approach alternates cool and warm. In another work, the nearest band leans cool, the sunlit peak leans warm, the shadows behind turn cool again — cool shadows, warm highlights, cool, warm, alternating layer by layer into the distance, until the sky finally transitions from warm to cold. Thomas singles out the sky: if it were uniformly warm it would read as a single plane, but with the cool-to-warm transition the upper sky feels closer and the yellow sky farther, and the depth emerges at once (at 11:12 in the video). The photographer also separates along the original direction of light — the right side darkened and cooled overall, the left lifted and warmed — pulling the left and right apart into layers too (at 12:00 in the video)."},{"t":"img","f":"v12","w":768,"h":480},{"t":"p","x":"500px 上非常火热的一张作品用的也是近冷远暖的分离（视频 12:45 处）。Thomas 自己的格陵兰村庄照片同理：近处是冷色的雪原阴影，远处灯光照亮的地方特意从白色调成偏暖的色调，更远处的冰封大海又用紫色强化——暖、冷、暖、冷不断交界，层次感自然更强（视频 13:00 处）。落到实操上：拍人像时可以把肤色做成暖色、背景做成冷色，分离感会特别强；背景想再出层次，就不要用纯冷色，而是一层冷、一层暖、一层冷、一层暖向远处叠加。只要保证色彩是一块一块的、与区域相关联，再把影调也和区域关联起来，照片就能充满层次感和纵深感（视频 14:02 处）。","xe":"One of the hottest works on 500px uses the same cool-near, warm-far separation (at 12:45 in the video). So does Thomas's Greenland village photo: cool shadows across the snowy foreground, the far lamplight deliberately warmed from white, and the frozen sea beyond reinforced with purple — warm, cool, warm, cool meeting again and again, and the layering grows naturally stronger (at 13:00 in the video). In practice: for portraits, keep skin tones warm and push the background cool for a strong separation; to layer the background further, don't use a single flat cool tone — stack cool, warm, cool, warm receding into the distance. As long as colors come in blocks tied to regions, and tones are tied to regions as well, your photos will brim with depth and dimension (at 14:02 in the video)."},{"t":"img","f":"v13","w":768,"h":480},{"t":"quote","x":"1. 构图时多考虑结构、遮挡与透视：门窗做框、物体互相遮挡、线条向远处延伸，层次是「设计」出来的；2. 用明暗与清晰度的分离强化纵深——近暗远亮或近亮远暗皆可，再让清晰度随之渐变；3. 让色彩成块并与区域关联：冷阴影暖高光交替叠加，冷暖分离是纵深感最强的视觉提示；4. 前期拍结构，后期补影调与色彩，三管齐下，平的照片也能变得立体。","xe":"1. Compose with structure, occlusion and perspective in mind: frames from doors and windows, objects occluding one another, lines receding — depth is designed, not stumbled upon; 2. Strengthen dimension by separating brightness and clarity — dark-near/bright-far or its reverse, with clarity grading along the same axis; 3. Make colors work in blocks tied to regions: cool shadows and warm highlights alternating in layers — the warm-cool split is the strongest visual cue for depth; 4. Shoot structure in the field, refine tone and color in post — attack from all three angles and even the flattest photo turns dimensional."},{"t":"h","x":"PPT","xe":"PPT"},{"t":"img","f":"img-03","w":1080,"h":675},{"t":"img","f":"img-04","w":1080,"h":675},{"t":"img","f":"img-05","w":1080,"h":675},{"t":"img","f":"img-06","w":1080,"h":675},{"t":"img","f":"img-07","w":1080,"h":675},{"t":"img","f":"img-08","w":1080,"h":675},{"t":"img","f":"img-09","w":1080,"h":675},{"t":"img","f":"img-10","w":1080,"h":675},{"t":"img","f":"img-11","w":1080,"h":675},{"t":"img","f":"img-12","w":1080,"h":675},{"t":"img","f":"img-13","w":1080,"h":675},{"t":"img","f":"img-14","w":1080,"h":675},{"t":"img","f":"img-15","w":1080,"h":675},{"t":"img","f":"img-16","w":1080,"h":675},{"t":"img","f":"img-17","w":1080,"h":675},{"t":"img","f":"img-18","w":1080,"h":675},{"t":"img","f":"img-19","w":1080,"h":675},{"t":"img","f":"img-20","w":1080,"h":675},{"t":"img","f":"img-21","w":1080,"h":675},{"t":"img","f":"img-22","w":1080,"h":675},{"t":"img","f":"img-23","w":1080,"h":675},{"t":"h","x":"欢迎关注托马斯的旅行与摄影攻略","xe":"Follow Thomas for travel & photography tips"}],"titleEn":"Why Do My Photos Look Flat? Three Ways to Add Real Depth"}