{"slug":"sony-2023-professional-series","title":"摄影组照可以怎么拍？2023索尼世界摄影大赛获奖作品赏析（专业组）","author":"Thomas看看世界","date":"2023-03-05","wechat":"https://mp.weixin.qq.com/s?__biz=MzI4NDA5MzE5NQ==&mid=2247497123&idx=1&sn=0cfaab151eeee71b2e37ee4d17081d33&chksm=eb820bc7dcf582d17539b0a2e570f1741d042bbd41df3e3b94b78568a3b6fbe1149c7fd828ee&scene=21#wechat_redirect","blocks":[{"t":"p","x":"今天的摄影教程中，Thomas会和大家一起学习和赏析今年索尼世界摄影大赛专业组的获奖作品。","b":false,"xe":"In today's photography tutorial, Thomas will study and appreciate this year's Sony World Photography Awards Professional category winning works with everyone."},{"t":"p","x":"其实专业组和公开组唯一的区别，就是专业组要求必须是6-10张的组图，而公开组则是投稿单张照片。","b":false,"xe":"Actually, the only difference between the Professional category and the Open category is that the Professional category requires a series of 6-10 images, while the Open category accepts single images."},{"t":"p","x":"那么组图和单张有什么区别？优秀的组图摄影作品是什么样的？今天的教程正好借获奖作品的赏析一起与大家讨论。","b":false,"xe":"So what's the difference between a series and a single image? What do excellent photography series look like? Today's tutorial happens to use the appreciation of the winning works to discuss this with everyone."},{"t":"img","f":"img-01","w":1080,"h":1439},{"t":"h","x":"视频","xe":"Video"},{"t":"bili","bv":"BV18M4y1d7Bp","bpic":"bili-1","bt":"摄影组照可以怎么拍？2023索尼世界摄影大赛作品赏析（专业组）"},{"t":"p","x":"这一篇是上面视频的图文整理版。2023 年索尼世界摄影大赛（Sony World Photography Awards）入围名单揭晓，Thomas 挑了几组自己最喜欢的专业组获奖作品一起赏析，并借这些作品把「组图」这门功课讲透：组图和单张到底差在哪、优秀组图如何选题、如何拍摄、又如何编辑呈现。文中配了每组作品在视频里的关键帧截图（含作品名与作者信息卡）。","xe":"This is the illustrated companion to the video above. As the 2023 Sony World Photography Awards shortlist was announced, Thomas reviews several of his favorite professional-category series and uses them to unpack the craft of the photo essay: how a series differs from a single image, and how strong series choose their subject, shoot it, and edit it. Keyframe screenshots from the video — including the title cards with each series name and author — accompany the text."},{"t":"img","f":"v01","w":852,"h":480},{"t":"p","x":"先厘清一个常见误解：索尼世界摄影大赛分为专业组和公开组，但并不是「专业组只能专业摄影师参加」或「专业组的照片就更专业」。两者的唯一区别是专业组必须提交一组组图——一般 6 到 10 张——参与评选，而公开组只交单张（视频 0:17-0:47 处）。上面 0:19 处的要点卡说的就是这个。","xe":"First, a common misconception: the Sony World Photography Awards splits into Professional and Open categories, but that does not mean only professionals enter the Professional section, nor that its photos are inherently \"more professional\". The sole difference is that the Professional section requires a series — generally 6 to 10 images — while the Open section is single images (at 0:17-0:47 in the video). The card at 0:19 above says exactly that."},{"t":"h","x":"01 组图与单张：短诗与长篇小说","xe":"01 Series vs Single: Short Poems and Long Novels"},{"t":"p","x":"单张摄影是我们大部分摄影爱好者的日常，Thomas 把它比作语文里的短篇诗歌：因为只有一张，照片本身的视觉冲击力极其重要，故事、创意、想法和氛围都要蕴藏在这一副画面之中（视频 1:02-1:25 处）。而一组 10 张甚至 30 张的照片，就像长篇小说、长篇议论文或散文——评判标准随之改变（视频 1:30-1:43 处）。","xe":"Single-image photography is what most of us hobbyists live in, and Thomas likens it to the short poem in literature: with just one frame, visual impact is paramount, and the story, creativity, ideas and atmosphere must all live inside that one picture (at 1:02-1:25 in the video). A series of ten or even thirty photos, on the other hand, is a novel, a long essay — and the judging criteria shift accordingly (at 1:30-1:43 in the video)."},{"t":"p","x":"组图的第一关，是很多人忽视的「拍什么」：这一组到底要讲一个什么样的故事、关注什么样的议题——这次比赛里很多作品正是在选题上占尽优势；第二是「怎么拍」，如何呈现想表达的主题；第三是「如何编辑呈现」，哪张做封面、按叙事顺序还是别的结构排列、一个拍了几万张的项目怎么选出最终的十张——这些都是组图与单张最大的不同（视频 1:45-2:39 处）。带着这三把尺子，我们来看作品。","xe":"The first gate of a series is the most overlooked question: what to shoot. What story does this body of work tell, what issue does it care about — much of this year's shortlist won on subject choice alone. Second is how to shoot it, presenting the theme; third is how to edit and present: which image opens the series, whether the order follows a narrative, and how you pick ten keepers from a project of tens of thousands of frames — these mark the biggest differences from single-image work (at 1:45-2:39 in the video). With these three yardsticks, let us look at the work."},{"t":"h","x":"02 建筑类：牲口棚的类型学","xe":"02 Architecture: a Typology of Livestock Sheds"},{"t":"p","x":"第一组《Stal - Vernacular Animal Sheds》（Servaas Van Belle，建筑与设计类决赛入围）拍的是农场里牲口住的窝棚（视频 2:44 处起）。它和上周分享的那位德国摄影师的几组作品一样，采用类型学的拍法：同样的视角、同样的大雾天、同样清淡的后期调色（视频 3:03-3:16 处）。","xe":"The first series, \"Stal - Vernacular Animal Sheds\" (Servaas Van Belle, Architecture & Design Finalist), photographs the sheds that farm animals live in (from 2:44 in the video). Like the German photographer shared the previous week, it uses a typological approach: the same viewpoint, the same foggy weather, the same restrained grading (at 3:03-3:16 in the video)."},{"t":"img","f":"v02","w":852,"h":480},{"t":"p","x":"它好在哪里？首先有统一的结构和统一的主题，但每张照片里又有很多不同（视频 3:27-3:35 处）。入选的窝棚各具代表性：有的树已经从棚里长了出来；有的原本是房屋，后来改造扩充出独特的结构；有的就是四个钢架子上加一个遮雨顶，成了牲口的住处；还有铁皮钉成的偏现代版本和传统的砖结构（视频 3:38-4:11 处）——形态各异，又都带着历史感和年代感。","xe":"What makes it work? A unified structure and theme, yet rich variation from frame to frame (at 3:27-3:35 in the video). The selected sheds are each distinct: one has a tree growing straight out of it; one was originally a house, later extended into an odd hybrid; one is just four steel posts with a rain roof, housing livestock; others range from a more modern tin-and-plank build to traditional brick (at 3:38-4:11 in the video) — wildly varied forms, all carrying a sense of history and age."},{"t":"img","f":"v03","w":852,"h":480},{"t":"img","f":"v04","w":852,"h":480},{"t":"p","x":"这样的选题关注的是我们生活中常常被忽略的东西，再以组图形式呈现出来（视频 4:12-4:21 处）。Thomas 顺势点出组图的魅力：如果只有其中一张去参赛，很难获奖——单张能说的东西太少、震撼不够；但整组看下来，瞬间就感到震撼（视频 4:22-4:40 处）。","xe":"The subject turns our eyes to things daily life overlooks, then delivers them as a body of work (at 4:12-4:21 in the video). Here Thomas spells out the charm of the series format: enter any single frame alone and winning would be nearly impossible — one image says too little and shocks too gently; seen as a whole group, the impact lands instantly (at 4:22-4:40 in the video)."},{"t":"h","x":"03 动物与自然：百万萤火虫与城市野兽","xe":"03 Wildlife: a Million Fireflies and Beasts of the City"},{"t":"p","x":"第二组《Billions of Synchronous Fireflies Light up a Tiger Reserve》（Sriram Murali，野生动物与自然类决赛入围）拍的是森林里的萤火虫——据作者描述多达百万只（视频 4:43-5:02 处）。后期采用堆栈的方式，把漫天密密麻麻的萤火虫组合在一起，形成非常壮观的视觉效果（视频 5:05-5:15 处，上面 5:32 前后的截图就是堆栈出的光带）。","xe":"The second series, \"Billions of Synchronous Fireflies Light up a Tiger Reserve\" (Sriram Murali, Wildlife & Nature Finalist), photographs fireflies in a forest — by the author's count, as many as a million of them (at 4:43-5:02 in the video). Stacking in post combines the dense swarms into one spectacular visual (at 5:05-5:15 in the video; the screenshots around 5:32 above show the stacked ribbons of light)."},{"t":"img","f":"v05","w":852,"h":480},{"t":"img","f":"v06","w":852,"h":480},{"t":"p","x":"编辑呈现上它同样教科书：不是每张都用同一视角，而是有的用大广角交代环境，有的用细节局部呈现萤火虫的动态，还有的从森林小屋的窗框望出去看萤火虫的景象（视频 5:17-5:39 处）。拍萤火虫的照片 Thomas 见过很多，但以一组图、用这么密集的形式呈现，确实让人感到自然界的震撼力。","xe":"Its editing is a textbook too: not one uniform viewpoint, but wide angles to set the scene, close details to show the fireflies' motion, and a view out of a forest-cabin window framing the glow (at 5:17-5:39 in the video). Thomas has seen plenty of firefly photos, but as a series presented at this density, it truly conveys the force of nature."},{"t":"p","x":"第三组的主题更加出彩。《Cities Gone Wild》（Corey Arnold，野生动物与自然类决赛入围）探讨的话题是：人类的城市不断扩张，有的动物慢慢融入、适应了城市生活（视频 5:50-6:24 处）。透过这组照片可以看到灰熊、小灰熊、野狼如何在摩天大楼的城市里找到属于自己的生态位，甚至直接利用人类获取食物，生活习性都被改变（视频 6:25-6:46 处）。野生动物不一定在野外——城市之中也藏着精彩的动物生活（视频 6:49-6:58 处）。上面 6:44 前后的截图里，戴口罩的居民怀里抱着浣熊，正是这种改变的写照。","xe":"The third series shines even brighter in theme. \"Cities Gone Wild\" (Corey Arnold, Wildlife & Nature Finalist) explores how, as human cities keep expanding, some animals gradually weave themselves into urban life (at 5:50-6:24 in the video). The photos show how grizzlies, cubs and coyotes carve out their own niches among skyscrapers — even using humans directly to get food, their habits rewired (at 6:25-6:46 in the video). Wildlife is not confined to the wild; cities hide remarkable animal lives too (at 6:49-6:58 in the video). The screenshot around 6:44 above — a resident in a face mask holding a raccoon — is exactly that change in portrait."},{"t":"img","f":"v07","w":852,"h":480},{"t":"img","f":"v08","w":852,"h":480},{"t":"h","x":"04 风景类：滑翔伞冰面与南苏丹洪水","xe":"04 Landscape: Ice from a Paramotor, Sudan under Water"},{"t":"p","x":"风景类第一组《Event Horizon》（Kacper Kowalski，风景类决赛入围）拍的是冰面的纹理——冰霜、雪水与冰面交错的独特结构（视频 7:00-7:11 处）。他不是用无人机，而是乘坐带螺旋桨的动力滑翔伞，用相机在中长焦视角下拍摄（视频 7:13-7:24 处），得到了这些非常抽象但极具震撼力的画面，既耳目一新，也看得出极高的美学素养，非常精致（视频 7:27-7:41 处）。这一组同样证明：组图比单张看起来更震撼、主题更突出（视频 7:43-7:50 处）。","xe":"The first Landscape series, \"Event Horizon\" (Kacper Kowalski, Landscape Finalist), photographs textures on ice — frost, meltwater and the ice sheet crossing into unique structures (at 7:00-7:11 in the video). He does not use a drone but rides a powered paramotor, shooting with a camera at medium-telephoto angles (at 7:13-7:24 in the video), producing images that are highly abstract yet strikingly forceful — fresh to the eye and evidence of superb aesthetics, exquisitely refined (at 7:27-7:41 in the video). The series again proves the point: a group reads more powerfully than a single frame, and its theme cuts through (at 7:43-7:50 in the video)."},{"t":"img","f":"v09","w":852,"h":480},{"t":"img","f":"v10","w":852,"h":480},{"t":"p","x":"第二组《Loss and Damage》（Fabio Bucciarelli，风景类决赛入围）是另一条路：用风景摄影的方式去关注社会议题——南苏丹的洪水（视频 7:52-8:04 处）。洪水泛滥之后，各种被淹的景观进入画面：废弃的厂房建筑、汽车、学校里的篮球架（视频 8:05-8:15 处，上面 8:11 前后的截图正是泡在水中的篮球架）。作者借这些洪水中的风景记录，展现全球变暖在非洲引发的蝴蝶效应（视频 8:21-8:27 处）。风景摄影同样可以探讨非常严肃的问题——这也是这组作品在选题上占据最终获奖优势的原因（视频 8:32-8:43 处）。","xe":"The second Landscape series, \"Loss and Damage\" (Fabio Bucciarelli, Landscape Finalist), takes another road: using landscape photography to engage a social issue — the floods in South Sudan (at 7:52-8:04 in the video). After the waters rose, all kinds of submerged scenes entered the frame: abandoned factory buildings, cars, a school's basketball hoop (at 8:05-8:15 in the video; the screenshot around 8:11 above shows the hoop standing in water). Through these flooded landscapes the author shows the butterfly effect of global warming playing out in Africa (at 8:21-8:27 in the video). Landscape photography can carry very serious questions — and that subject choice is precisely what gave this series its edge toward the final awards (at 8:32-8:43 in the video)."},{"t":"img","f":"v11","w":852,"h":480},{"t":"h","x":"05 静物的新可能：吊起的树与塔吊","xe":"05 Still Life, Reinvented: Hanging Trees and Tower Cranes"},{"t":"p","x":"最后一组来自静物类。一提静物摄影，我们一般想到的是摆些花花草草、盘子道具——Thomas 在必应上随手一搜，满屏都是这类照片（视频 8:58-9:06 处）。但《The Sky Garden》（张克纯，静物类决赛入围）证明，在城市的外部空间同样可以拍到静物（视频 9:06-9:14 处）：摄影师聚焦花鸟市场、装饰市场里被吊起来吊装运输的盆景树木，并专门挑阴天拍摄，让天空像一块白色纸板，隔出非常干净的主体（视频 9:16-9:38 处）。组里还有一张叶子纷飞飘落的图像，非常有诗意（视频 9:42-9:46 处）。在满是棚拍作品的静物组里，这样一组作品立马脱颖而出（视频 9:56-10:00 处）。","xe":"The last group comes from Still Life. Mention still life and we picture arranged flowers, props and plates — one quick search on Bing, Thomas notes, fills the screen with exactly that (at 8:58-9:06 in the video). But \"The Sky Garden\" (Kechun Zhang, Still Life Finalist) proves still life can be made outdoors in the city (at 9:06-9:14 in the video): the photographer focuses on bonsai and nursery trees hoisted for transport at flower-bird and decoration markets, shooting deliberately on overcast days so the sky becomes a sheet of white cardboard isolating an impeccably clean subject (at 9:16-9:38 in the video). One frame with leaves whirling down in mid-air is pure poetry (at 9:42-9:46 in the video). Placed among studio-lit still lifes, this series detaches itself at once (at 9:56-10:00 in the video)."},{"t":"img","f":"v12","w":852,"h":480},{"t":"img","f":"v13","w":852,"h":480},{"t":"p","x":"有意思的是，另一组手法几乎相同的作品也入选了提名——《Temporary Artworks》（Klaus Lenzen，静物类短名单，大致是前十；前面的组则是类别前三）。这位摄影师把目光投向每个城市都有的建筑工地：塔吊吊起的钢筋、结构件（视频 10:18-10:31 处）。平时我们觉得工地特别凌乱，但经过拍摄、观察和后期处理，最终呈现得非常有艺术感——把杂乱环境里稍纵即逝的事物拍出艺术感，这一点很给人启发（视频 10:33-10:54 处）。","xe":"Interestingly, another series with an almost identical device also made the shortlist — \"Temporary Artworks\" (Klaus Lenzen, Still Life Shortlist, roughly the top ten; the previous group ranked in the category's top three). This photographer turned his eye to the construction sites every city has: tower cranes hoisting rebar and structural members (at 10:18-10:31 in the video). Sites usually read as pure clutter, yet through shooting, observing, and some post-processing, the results feel genuinely artistic — lending artistry to fleeting things in a messy environment, which is deeply instructive (at 10:33-10:54 in the video)."},{"t":"p","x":"两组同台，比较就来了。Thomas 认为前面的《The Sky Garden》更出彩：工地吊钢筋在每个城市都司空见惯，而吊起盆栽树木的场景现实中很少见，甚至可能只有亚洲地区才能拍到（视频 11:19-11:37 处）；而且吊起的不是钢筋混凝土，是本身不属于这里、却要被吊往别处的植物——留给观众发散、联想和思考的空间大得多（视频 11:39-11:58 处）。所以无论呈现还是观察角度，都是前一组更强（视频 12:01-12:07 处）。看摄影比赛能看到很多有意思的东西：组图如何呈现、摄影师如何观察——城市里天天见到的场景，为什么我们就没想到那样去拍呢（视频 12:08-12:35 处）？","xe":"With the two side by side, the comparison writes itself. Thomas judges \"The Sky Garden\" the stronger: crane-lifted rebar is commonplace in every city, while hoisted potted trees are rare in real life — possibly photographable only in Asia (at 11:19-11:37 in the video). And what hangs there is not concrete and steel but living plants that belong elsewhere, being ferried somewhere new — leaving far more room for the viewer's association and reflection (at 11:39-11:58 in the video). In both presentation and angle of observation, the earlier series wins (at 12:01-12:07 in the video). Photography contests are full of such delights: how series are put together, how photographers observe — and the standing question of why we never think to shoot the scenes we pass every day (at 12:08-12:35 in the video)."},{"t":"img","f":"v14","w":852,"h":480},{"t":"quote","x":"1. 索尼世界摄影大赛专业组与公开组的唯一区别是组图（6-10 张）与单张；组图像长篇小说，评判看拍什么、怎么拍、如何编辑呈现；2. 类型学（同视角、同天气、同调色）是组图的经典解法，《Stal》牲口棚系列证明统一中求变化的威力；3. 选题决定上限：《Cities Gone Wild》的城市野生动物、《Loss and Damage》的南苏丹洪水，都是用摄影回应严肃议题；4. 打破品类思维：《Event Horizon》用动力滑翔伞拍抽象冰面，《The Sky Garden》在阴天街头拍吊装的树木——在「错误」的类别里做出干净的主体，就能从同题作品中脱颖而出。","xe":"1. The Professional and Open sections of the Sony World Photography Awards differ only in series (6-10 images) versus single images; a series is a long novel, judged on what to shoot, how to shoot it, and how to edit and present. 2. Typology — same viewpoint, same weather, same grading — is a classic series solution; the \"Stal\" sheds show the power of unity with variation. 3. Subject choice sets the ceiling: \"Cities Gone Wild\" and \"Loss and Damage\" answer serious issues with photography. 4. Break category thinking: \"Event Horizon\" shoots abstract ice from a paramotor, \"The Sky Garden\" finds clean subjects in hoisted street trees under overcast skies — do the unexpected within a genre and you rise above the pile."},{"t":"h","x":"高清视频：","xe":"HD video:"},{"t":"p","x":"https://www.bilibili.com/video/BV18M4y1d7Bp/","b":false,"xe":"https://www.bilibili.com/video/BV18M4y1d7Bp/"}],"titleEn":"How Can Photography Series Be Shot? Appreciation of the 2023 Sony World Photography Awards Winning Works (Professional Category)"}