{"slug":"travel-portrait-unique","title":"推荐 | 如何在旅行中拍出与众不同的人像 - 拍摄攻略","author":"Thomas看看世界","date":"2017-02-09","wechat":"https://mp.weixin.qq.com/s?__biz=MzI4NDA5MzE5NQ==&mid=2247485034&idx=1&sn=99e9cea09ee74c1314ceb06ddc8f9ea2&chksm=eb81f80edcf671187b7054443bf700e7d2d30c45b14f8e2635c7473c64a2426b3270c831f767&scene=21#wechat_redirect","blocks":[{"t":"p","x":"本文作者Terry F，是一名超级厉害的人像摄影师。他总是能巧妙的结合自然风光，给人像作品带来强烈的情绪与风格。","b":false,"xe":"The author of this article is Terry F, a superb portrait photographer. He always skillfully combines natural scenery with portraiture, giving his work strong emotion and style."},{"t":"img","f":"img-02","w":823,"h":1200},{"t":"p","x":"当你背上行囊，带着家人或者朋友踏上旅途的时候，固然不会忘记用相机留下难忘的回忆。","b":false,"xe":"When you pack your bags and set out on a journey with family or friends, you certainly won't forget to capture unforgettable memories with your camera."},{"t":"p","x":"对于摄影师来说，或许每一次旅行更大的意义就是在于拍摄平时拍不到的题材和内容。","b":false,"xe":"For a photographer, perhaps the greater meaning of every trip lies in shooting subjects and content you can't shoot at home."},{"t":"p","x":"“与众不同”，一定是你拍摄中的一个重要追求。厌烦了各种社交平台上大量千篇一律V字手势的旅游照，以及影楼流水线式的样板戏，你是否想过在拍摄风格上寻求自我？","b":false,"xe":"\"Being different\" must be one of your core pursuits in photography. Tired of the endless identical V-sign tourist photos on social platforms and the assembly-line studio poses, have you ever thought about finding yourself in your shooting style?"},{"t":"p","x":"这套教程将详细讲解从拍摄风光人像的准备工作，时间规划，到拍摄思路，后期方式的一整套流程。其中因为篇幅太长，风光人像的后期将单独作为一篇教程稍后发布。","b":false,"xe":"This tutorial series explains the complete workflow of landscape portraiture, from preparation and time planning to shooting ideas and post-processing. Because of its length, the post-processing of landscape portraits will be published separately as its own tutorial later."},{"t":"img","f":"img-03","w":500,"h":312},{"t":"h","x":"1","xe":"1"},{"t":"h","x":"拍摄原则","xe":"Shooting Principles"},{"t":"p","x":"旅行中的风光人像可以拍摄的题材太多太多，不同于在熟悉的地方进行的有计划的人像拍摄，摄影师在拍摄前的准备工作中首先要想到的是：我有什么拍摄条件？","b":false,"xe":"There are so many subjects you can shoot for landscape portraits while traveling. Unlike planned portrait sessions in familiar places, the first thing a photographer should consider during preparation is: what shooting conditions do I have?"},{"t":"p","x":"如果你有一个表现力强的旅行同伴，那么情绪性题材不失为在不同环境下的首选；如果你有一堆高质量的器材以及丰富的风光摄影经验，那么将人物作为风景的点睛之笔也可以给你的风光拍摄增添乐趣和光彩。","b":false,"xe":"If you have an expressive travel companion, emotional subjects are a fine first choice across different environments. If you have a pile of high-quality gear and rich landscape photography experience, making the person the finishing touch of a vista can also add fun and brilliance to your landscape work."},{"t":"p","x":"但是别忘记了，风光人像最大的优势是将较为复杂的风光拍摄技巧和注重情绪和故事表达的人像拍摄结合，从视觉上和内容上打动观众。当然，达到这一效果，你需要一定的后期技术。","b":false,"xe":"But don't forget: the greatest strength of landscape portraiture is combining the more complex techniques of landscape photography with portraiture's focus on emotion and storytelling, moving the viewer both visually and in content. Of course, achieving this requires some post-processing skill."},{"t":"img","f":"img-04","w":500,"h":281},{"t":"p","x":"但是就这张图片而言，其效果并不尽如人意。主要问题是，华丽大气的场景让人物的存在感过低，背景的色调和人物并没形成足够的反差，简而言之，人物和环境的结合不够到位。因此这里可以引出风光人像的拍摄原则：","b":false,"xe":"But judging by this image alone, the result is not entirely satisfactory. The main problem: the magnificent scene diminishes the person's presence, and the background's tones don't contrast enough with the person — in short, the person and the environment aren't well integrated. From this we can derive the shooting principle of landscape portraiture:"},{"t":"h","x":"风光人像的拍摄原则依然是以人像为主，人物是主导片子情绪和故事的关键。","xe":"The shooting principle of landscape portraiture is still portrait-first: the person is the key that leads the image's emotion and story."},{"t":"p","x":"除了多张叠加，风光人像可用的技巧基本还有：","b":false,"xe":"Besides multi-frame stacking, the techniques available to landscape portraiture basically include:"},{"t":"p","x":"慢门","b":false,"xe":"Long exposure"},{"t":"img","f":"img-05","w":500,"h":281},{"t":"p","x":"中长焦控制景深","b":false,"xe":"Medium-telephoto depth-of-field control"},{"t":"img","f":"img-06","w":500,"h":281},{"t":"p","x":"当然，以上方式都可以和HDR的拍摄与后期方式相结合。","b":false,"xe":"Of course, all of the above can be combined with HDR shooting and post-processing."},{"t":"p","x":"这些技巧其实更贴近风光摄影，但是如上文所言，拍摄主题依然是人像。因此不能说风光人像是介于风光和人像之间的摄影，而且将二者的优势融为一体的创作方式。","b":false,"xe":"These techniques are actually closer to landscape photography, but as stated above, the subject is still the portrait. So landscape portraiture is not something between landscape and portrait — it's a creative approach that fuses the strengths of both."},{"t":"h","x":"2","xe":"2"},{"t":"h","x":"拍摄地点","xe":"Shooting Locations"},{"t":"p","x":"大多数时候，当你决定去旅游的时候，目的地是你从未去过的地方。在这种情况下，你更需要做充足的功课来避免抵达目的地的时候手忙脚乱。这一部分将主要讲解在出发前该如何选择拍摄风光人像的地点。","b":false,"xe":"Most of the time, when you decide to travel, the destination is somewhere you've never been. In that case you need to do thorough homework to avoid scrambling upon arrival. This section explains how to choose locations for landscape portraits before departure."},{"t":"p","x":"如果问大家去纽约拍人像应该拍什么？相信很多人不想错过自由女神像。但是一个地标性的景点给人像摄影带来的很大的问题就是容易喧宾夺主。拍出来的东西就更像到此一游。同理，如果去悉尼旅游，你可以和歌剧院合影，但是很难第一次就在歌剧院前面拍出合格的风光人像。","b":false,"xe":"If you ask people what to shoot for portraits in New York, many won't want to miss the Statue of Liberty. But a landmark brings a big problem for portrait photography: it easily steals the show, and what you shoot becomes a mere \"I was here\" snapshot. Similarly, when traveling in Sydney, you can pose with the Opera House, but it's hard to produce a qualified landscape portrait in front of it on your first try."},{"t":"h","x":"切记，风光人像依然是人像。风光再美也只是背景。","xe":"Remember: landscape portraiture is still portraiture. No matter how beautiful the scenery, it is only the backdrop."},{"t":"p","x":"图例（不适合拍人像的环境）","b":false,"xe":"Example (an environment unsuitable for portraits)"},{"t":"img","f":"img-07","w":500,"h":281},{"t":"p","x":"那么地点的选择最好具有以下几个特点：","b":false,"xe":"A good location should ideally have the following characteristics:"},{"t":"p","x":"a) 具有地区特点但不是著名景点","b":false,"xe":"a) Regional character without being a famous attraction"},{"t":"p","x":"b) 环境风格统一但缺乏拍摄主体","b":false,"xe":"b) A consistent environmental style that lacks a dominant subject"},{"t":"p","x":"c) 游客相对较少","b":false,"xe":"c) Relatively few tourists"},{"t":"p","x":"下面一张图拍摄于Bombo，那是一个海岸矿场的残骸，非常有特点，单独作为风光取景地来说可谓得天独厚。然而把人物放进去以后，很显然，人物的光芒就被风光所掩盖。这张片子发布之后很多反馈都提到了应该去掉人，单独作为风光片。（然而后期没有按照风光的标准来修图，所以作为风光片也很不合格）","b":false,"xe":"The image below was shot at Bombo, the remains of a coastal quarry — very distinctive, and a uniquely gifted landscape location on its own. Yet once a person is placed in it, their presence is clearly eclipsed by the scenery. After this image was published, much feedback said the person should be removed and it should stand as a pure landscape. (And since the editing wasn't done to landscape standards, it's not a qualified landscape either.)"},{"t":"img","f":"img-08","w":500,"h":281},{"t":"p","x":"下图同样是拍摄于Bombo，在矿山的另一边是一大片草地，这算是在临走前的意外收获吧。这片草地当然算不上景点，但是当最后一缕阳光从山的夹缝中照射过来，撒在一小片草地上的时候，和谐地烘托出人物存在感。再加以细节，动作上的修饰，寻找并表达所需的主题，就可以算一张比较合格的风光人像了。","b":false,"xe":"The image below was also shot at Bombo: on the other side of the quarry is a large meadow — an unexpected gain before leaving. This meadow is certainly no attraction, but when the last ray of sunlight squeezed through a gap in the hills and spilled onto a small patch of grass, it harmoniously highlighted the person's presence. Add refinements in detail and gesture, find and express the intended theme, and you have a fairly qualified landscape portrait."},{"t":"img","f":"img-09","w":500,"h":281},{"t":"h","x":"3","xe":"3"},{"t":"h","x":"器材准备","xe":"Gear Preparation"},{"t":"p","x":"首先你需要一台相机。具体是什么机身并不重要，可以是几千块钱的入门单反也可以是中画幅。拍摄风光人像对画质的要求应该是介于风光和人像之间的，其主要目的还是传达思想，并不需要达到什么极致画质。","b":false,"xe":"First you need a camera. The specific body doesn't matter much — an entry-level DSLR costing a few thousand yuan works, so does medium format. The image-quality requirement for landscape portraiture sits between landscape and portrait work; its main purpose is conveying ideas, not reaching some extreme of image quality."},{"t":"p","x":"而风光人像可以多张合成，这也就大大提升了入门机单张画质不给力的问题。所以只要不是便宜的卡片，大多数可换镜头相机基本都可以胜任。","b":false,"xe":"And since landscape portraits can be composited from multiple frames, the weak single-frame quality of entry-level bodies matters much less. So as long as it's not a cheap compact, most interchangeable-lens cameras are up to the job."},{"t":"p","x":"在镜头的选择上最好涵盖广角到中焦的焦段。笔者的选择是16-35mm 和50mm，如果有多余空间，还会带135mm。但是在使用一段时间之后，感觉如果有一个24-70可能会更轻便和方便。","b":false,"xe":"For lenses, it's best to cover wide angle to medium telephoto. My choices are a 16-35mm and a 50mm, plus a 135mm if there's spare room. After using them for a while, though, I feel a 24-70mm might be lighter and more convenient."},{"t":"p","x":"因为超广角端并不是十分常用，太广了的话，对环境要求太高，需要环境非常和谐统一，不然环境太复杂，人物就不突出。长焦使用也非常少，但如果拍摄树林题材，或者需要展现环境层次的题材的话，一个大光圈长焦会带来意想不到的效果。","b":false,"xe":"The ultra-wide end isn't used very often — too wide demands an extremely harmonious and unified environment, or the scene becomes too complex and the person loses prominence. Long telephotos are also rarely used, but for forest subjects or scenes needing layered depth, a fast telephoto can bring unexpected results."},{"t":"p","x":"（玄学狗头迷之配图，祝你拍出灵魂大片。图片来自网络）","b":false,"xe":"(A mystical meme-worthy lens photo — may you shoot soul-stirring masterpieces. Image from the internet.)"},{"t":"img","f":"img-10","w":500,"h":232},{"t":"p","x":"如果是入门机，不妨带一只10-20mm和18-105mm一类的镜头，价格非常便宜，效果并不差。","b":false,"xe":"With an entry-level body, consider lenses like a 10-20mm and an 18-105mm — very cheap, and the results are not bad at all."},{"t":"p","x":"（D90五百年神机迷之配图，祝你吊打黑长粗。图片来自网络）","b":false,"xe":"(A mystical photo of the D90, the 500-year legendary camera — may you crush the big black long lenses. Image from the internet.)"},{"t":"img","f":"img-11","w":293,"h":220},{"t":"p","x":"倘若需要慢门的话，不要忘记配上一套高质量的ND。便宜的ND会产生色差，给你在后期合成的时候制造麻烦。（合成技巧会在下期第四部分讲解）。如果不愿在ND上投资过大，国产的也能应付，无非是后期合成的时候要加倍小心。","b":false,"xe":"If you plan long exposures, don't forget a set of high-quality ND filters. Cheap NDs create color casts that cause trouble when compositing in post (compositing techniques will be covered in Part 4 next issue). If you don't want to invest much in NDs, domestic brands will do — just be extra careful when compositing later."},{"t":"p","x":"三脚架是必备之物，在能背动的前提下选择最重的，有脚钉的。因为在拍摄的时候经常要把三脚架放在各种险恶的环境里，比如说陡坡上，海浪里，溪流里，狂风中。（LZ脚架上的海盐刮下来都能炒好几盘菜了）","b":false,"xe":"A tripod is essential — within what you can carry, choose the heaviest one with spiked feet. During shoots you often have to place the tripod in all kinds of hostile environments: steep slopes, ocean surf, streams, strong winds. (The sea salt scraped off my tripod could season several dishes.)"},{"t":"p","x":"（图片来自网络）","b":false,"xe":"(Image from the internet)"},{"t":"img","f":"img-12","w":351,"h":220},{"t":"p","x":"然后务必记得带上吸水性好的镜头纸，气吹。以便在恶劣环境中及时清理镜头。笔者就有因为镜头上粘了一点肉眼都难以察觉的水雾，导致一整套策划了好几周，代价巨大的片子全部报废的惨痛经历。","b":false,"xe":"Then be sure to bring absorbent lens paper and a blower, so you can clean the lens promptly in harsh environments. I once had an entire set of images — planned for weeks at great cost — ruined by a speck of water mist on the lens that was barely visible to the naked eye."},{"t":"p","x":"最后要注意的是，如果需要长途跋涉的话，设备一定要越少越好，越轻越好。疲劳往往会影响拍片的质量和旅行的心情。","b":false,"xe":"One last note: if the shoot involves a long trek, the less gear the better, the lighter the better. Fatigue affects both the quality of your photos and your enjoyment of the trip."},{"t":"h","x":"4","xe":"4"},{"t":"h","x":"时间规划","xe":"Time Planning"},{"t":"p","x":"倘若是单纯的拍摄人像，在准备充分的前提下，一般两小时之内就能结束拍摄。如果单纯是拍风光，为了捕捉日出或者日落的刹那，拍摄时间也不会太长，也不会需要频繁变动机位。","b":false,"xe":"For a pure portrait session, with good preparation, shooting usually wraps within two hours. For pure landscapes, capturing the moment of sunrise or sunset doesn't take long either, and you don't need to change positions frequently."},{"t":"p","x":"而风光人像往往是拉锯战，为了保证出片数量，摄影师必须频繁更换机位。每次更换机位，假设脚架，重新取景，对焦，上滤镜，长曝光，和模特沟通，动作指导，都会花费很多时间。所以在时间上一定要留有足够的余地。","b":false,"xe":"Landscape portraiture, however, is often a tug of war. To ensure a decent number of keepers, the photographer must change positions frequently. Each move means setting up the tripod again, reframing, focusing, attaching filters, long exposures, communicating with the model, directing poses — all time-consuming. So leave yourself plenty of margin in scheduling."},{"t":"p","x":"以笔者个人的经验来看，假设要出一组14张左右的成品，其中至少6张使用长曝光合成。那么最好准备四小时的拍摄时间。","b":false,"xe":"From my personal experience, if you want a final set of about 14 images, at least 6 of them using long-exposure compositing, you'd better reserve four hours of shooting time."},{"t":"p","x":"所幸的是，风光人像对环境光要求并不太高，不一定非得踩着日出日落的点去拍摄。一般适合拍摄人像的时间都适合拍风光人像。如果在日出日落大光比的环境中拍摄的话，增加了不少曝光难度，而且因为增加了抢眼的太阳，在构图上也更困难。当然，如果是团队作业，有助理帮忙举灯打板那就另当别论了。","b":false,"xe":"Fortunately, landscape portraiture isn't too demanding about ambient light — you don't have to chase the sunrise/sunset window. Times suitable for portraits generally suit landscape portraits too. Shooting in the high-contrast light of sunrise or sunset adds exposure difficulty, and including the eye-catching sun makes composition harder too. Of course, if you're working with a team and an assistant to hold lights and reflectors, that's another story."},{"t":"p","x":"所以在自然光拍摄的前提下，倘若能在日落前四小时抵达拍摄地点是最好不过的了。如果你是去从未去过的地方拍摄，那么还得考虑前半小时或一小时的拍摄会不会变成热身时间，并不能拍出理想的作品。","b":false,"xe":"So, shooting with natural light, arriving at the location four hours before sunset is ideal. If you're shooting somewhere you've never been, also consider whether the first half hour or hour will become warm-up time that yields nothing ideal."},{"t":"p","x":"笔者不主张风光人像赶日出。拍日出意味着即使在交通便利的情况下，可能凌晨三四点就要动身，这样的拍摄压力影响的不仅是摄影师，模特受的影响更大，因为他们还需要额外的半小时到一小时的化妆试装时间。当你们拖着疲惫的身体，带着黑眼圈抵达拍摄地点的时候，拍摄的成功率自然大打折扣。","b":false,"xe":"I don't advocate chasing sunrises for landscape portraits. Shooting sunrise means departing at three or four in the morning even with convenient transport. The pressure affects not only the photographer but the model even more, since they need an extra half hour to an hour for makeup and wardrobe. When you both drag your exhausted, dark-circled selves to the location, the success rate of the shoot naturally plummets."},{"t":"img","f":"img-13","w":500,"h":281},{"t":"h","x":"5","xe":"5"},{"t":"h","x":"拍摄攻略","xe":"Shooting Strategy"},{"t":"p","x":"笔者在对许多题材做过尝试以后，感觉风光人像应该算是比较麻烦的一种。其中最大的难题并不是堆栈慢门或者后期合成这些技术，而是摁快门的那一瞬间，你的构图是否合适，构图是否充分考虑的后期的思路。","b":false,"xe":"After trying many genres, I feel landscape portraiture counts among the more troublesome ones. The biggest challenge is not stacking, long exposures, or compositing — it's whether your composition at the moment you press the shutter is right, and whether it fully anticipates the post-processing plan."},{"t":"p","x":"那么让我们从构图入手，分析一下拍摄的时候应该注意哪些问题。","b":false,"xe":"So let's start with composition and analyze what to watch for when shooting."},{"t":"p","x":"a) 中心构图大法好，黄金分割好。当观众看一张图片的时候，绝对不会错过的是图片的中心区域。把人物放在图片的中心，是最保险的突出人物的方式。","b":false,"xe":"a) Center composition is great, and so is the golden ratio. When viewers look at an image, the area they can never miss is the center. Placing the person at the center is the safest way to make them stand out."},{"t":"img","f":"img-14","w":500,"h":281},{"t":"p","x":"b) 线条对视觉的引导也很重要。千万不可强行把人物放在中间，滥用中心构图的方法容易造成的“到此一游”即视感。","b":false,"xe":"b) The guidance of lines matters too. Never force the person into the middle — abusing center composition easily produces that \"I was here\" look."},{"t":"p","x":"笔者在使用中心构图的时候，绝大多数情况都是因为环境中可以找到辐射线条，这些线条可以将视线引导到图片中心或者某个特定位置，让整个画面的故事向中间聚拢，这样一来，整张画面传达的信息也就不会太复杂。简洁，但是有冲击力，这是一张合格的照片视觉上所需要具备的重要要素。","b":false,"xe":"In most cases when I use center composition, it's because I can find radiating lines in the environment — lines that guide the eye to the center or to a specific spot, drawing the whole frame's story inward. That way the information conveyed by the image isn't too complex. Simple yet impactful — an important visual quality of a qualified photo."},{"t":"p","x":"下图中，人物的方向，视线的方向和树枝的方向并不和谐，这也大大降低了图片的视觉效果，破坏了内容。","b":false,"xe":"In the image below, the direction of the person, their gaze, and the direction of the branches are not in harmony — greatly weakening the image's visual effect and damaging its content."},{"t":"img","f":"img-15","w":500,"h":750},{"t":"p","x":"c) 不论你是用中心构图还是找黄金分割点，人物和环境的关系一定要和谐，景物太亮太显眼，必然会过于降低人物存在感，让人物的出现变得可有可无，甚至起反作用。","b":false,"xe":"c) Whether you use center composition or a golden-section point, the relationship between person and environment must be harmonious. If the scenery is too bright and eye-catching, it inevitably suppresses the person's presence, making them dispensable — or even counterproductive."},{"t":"p","x":"下图中，近处的石头被照亮，由于处于相对靠中间的位置，而且是图中最亮，细节最丰富的地方，反而代替人物成了主角。因此在后期的时候将石头强行压暗。","b":false,"xe":"In the image below, the nearby rock is lit up. Sitting relatively central and being the brightest, most detailed part of the frame, it replaced the person as the protagonist. So in post, I forcibly darkened the rock."},{"t":"img","f":"img-16","w":500,"h":230},{"t":"img","f":"img-17","w":500,"h":281},{"t":"p","x":"d) 注意人物身后的背景。和环境人像一个道理，风光人像中，人物占的画面比重很小，那么如果人物背景没有衬托出人物的话，也降低了人物存在感。一般原则是，背景亮，人物暗，人物亮，背景暗。如果阳光把人物和背景都照的很亮的话，那么人就融入背景了；或者如果照片中，人物处于被光面，后期强行提亮太多，结果也是影响了人物和环境的反差。","b":false,"xe":"d) Watch the background behind the person. Same principle as environmental portraiture: in landscape portraits the person occupies a small share of the frame, so if the background doesn't set off the person, their presence drops. The general rule: bright background, dark person; bright person, dark background. If sunlight lights both person and background brightly, the person merges into the background. Or if the person is on the lit side and you forcibly lift them too much in post, the contrast between person and environment suffers all the same."},{"t":"p","x":"下图在拍摄的时候考虑到了后期以后，水面会变白，所以将头发位置放在水面高度，身体位置放在深色的岩石前面。这样来加强反差。","b":false,"xe":"For the image below, I anticipated during shooting that the water surface would turn white in post, so I placed the hair at water level and the body in front of the darker rocks — strengthening the contrast."},{"t":"img","f":"img-18","w":500,"h":281},{"t":"p","x":"e) 眼神交流。一张照片，无论是讲故事，还是表达情绪，都需要用种种方式将这些信息传达给观众。其中，最简单也是最有效的就是让麻豆看着镜头。","b":false,"xe":"e) Eye contact. A photo, whether telling a story or expressing emotion, needs ways to deliver that information to the viewer. The simplest and most effective of these is having the model look into the lens."},{"t":"p","x":"环境人像中，人物存在感较低，而目光也是吸引注意力的一个不错的方式。以下图为例，再发布以后，有人提出，如果让麻豆看水面或者闭眼的话，效果更好。事实是，拍摄这张照片的时候笔者保留了多组镜头，分别是不同的动作。但是在仔细对比斟酌之后，还是选了这张眼睛看着观众的图。","b":false,"xe":"In environmental portraits the person's presence is low, and a gaze is a fine way to attract attention. Take the image below: after it was published, someone suggested it would be better if the model looked at the water or closed her eyes. In fact, I kept several sets of frames with different poses when shooting this photo. But after careful comparison, I still chose the one where her eyes meet the viewer."},{"t":"p","x":"原因就是整个画面的孤独感，从天空，雾状的水面，到水中的礁石，抱紧一团的人物，最终汇聚到眼睛里，直接传达给观众。倘若眼神看向别处的话，整个氛围的中心被引向别处。图片中各个要素也变成了独立的景观，那么这张图也就是失败的了。","b":false,"xe":"The reason: the loneliness of the whole frame — from the sky, the misty water, the reefs, the huddled figure — finally converges in her eyes and passes directly to the viewer. If her gaze pointed elsewhere, the center of the entire mood would be led away, and every element in the frame would become an independent sight. The image would be a failure."},{"t":"img","f":"img-19","w":500,"h":333},{"t":"p","x":"但是也并不是所有图都适合看着镜头。下图就是一个典型案例。因为图片中树的方向性是从左到右，留白也是在右边。所以当眼神看向镜头的时候，打破了这个整体的方向，也就导致人物或者景物显得很多余。","b":false,"xe":"But not every image suits looking into the lens. The one below is a classic case: the trees' direction runs left to right, and the negative space is on the right. When the gaze meets the lens, it breaks that overall direction, making the person or the scenery seem superfluous."},{"t":"img","f":"img-20","w":500,"h":281},{"t":"p","x":"再比如，很多时候，让麻豆只留有一个背影比有眼神更好。这样的图片没有眼神对故事的引导，表达方式完全由图片的线条或者人物的动作主导，如果拍摄得当，那么也可以获得很好的效果。","b":false,"xe":"For another example: often, showing the model only from behind works better than having a gaze. Without a gaze to guide the story, expression is driven entirely by the image's lines or the person's posture — and when shot well, that also yields great results."},{"t":"img","f":"img-21","w":500,"h":281},{"t":"p","x":"f) 慢门的使用。相信有人会觉得慢门是给整张画面增加亮点的。其实慢门的最主要作用是“做减法”。海浪或者流水在快门下的静止形态非常复杂，如果太好看，就会抢眼，难看就会起反作用。那么用慢门，将水变成线条或者平面，减小水流对主体的干扰。尤其是当水变成线条以后，更方便表达情绪。","b":false,"xe":"f) Using long exposures. Some people think a long exposure adds sparkle to the whole frame. In fact, its main purpose is subtraction. Waves or flowing water frozen by a fast shutter are visually complex — if too pretty, they steal the show; if ugly, they backfire. A long exposure turns water into lines or planes, reducing its interference with the subject. Once water becomes lines, it expresses emotion even more easily."},{"t":"p","x":"一般来说，曝光时间越长，水流的雾感更明显，水雾在图中占的面积更大。但是水雾缺乏纹理。如果要拍出有一定纹理的慢门，那么曝光时间一般在30秒左右即可。如果需要拍出有线条的浪花，那么根据浪花的远近来判断时间，1/20秒以上都可以。一般来说，对相机而已，近处的浪运动速度比远处的更快，幅度更大。所以曝光时间相对较短。远处的反之，曝光时间需要更长。","b":false,"xe":"Generally, the longer the exposure, the mistier the water and the more area the mist occupies — but the mist lacks texture. For a long exposure with some texture, around 30 seconds usually does. For waves with lines, judge by the waves' distance — anything above 1/20s works. For the camera, nearby waves move faster and with larger amplitude than distant ones, so exposures can be relatively shorter; distant waves need longer exposures."},{"t":"p","x":"下图曝光时间：12秒","b":false,"xe":"Exposure for the image below: 12 seconds"},{"t":"img","f":"img-22","w":500,"h":750},{"t":"p","x":"下图曝光时间：93秒","b":false,"xe":"Exposure for the image below: 93 seconds"},{"t":"img","f":"img-23","w":500,"h":333},{"t":"p","x":"有人问过，慢门需不需要合成？这里的答复是，一定需要。在某些特定的情况下，比如说麻豆坐着，躺着，无风，可以单张拍5秒以内的曝光，但是这样的话，如果需要严谨地表现暗部和高光，你还是需要另外拍两张合成HDR。所以拍摄慢门之前，最好是学习相关的后期技巧。这些具体的后期技巧也会在本教程的PS部分详细阐述。","b":false,"xe":"People have asked whether long exposures need compositing. The answer here: absolutely. In certain specific cases — the model sitting or lying down, no wind — a single exposure within 5 seconds may work, but even then, to rigorously render shadows and highlights you still need two more frames for an HDR composite. So before shooting long exposures, it's best to learn the related post techniques, which this tutorial's Photoshop section will explain in detail."},{"t":"h","x":"总结","xe":"Summary"},{"t":"p","x":"在旅途中拍摄风光人像，不要单纯当做拍旅游照，也不要寄予太大希望。不论是天气，路途还是人的变数都很大。如果要严谨得拍风光人像的话，还是要在同一个地方多次尝试才能拍出最好的效果。","b":false,"xe":"When shooting landscape portraits on a trip, don't treat it as mere tourist snapshots, but don't place too much hope in it either. Weather, the journey, and people are all highly variable. For rigorous landscape portraiture, you need repeated attempts at the same place to get the best result."},{"t":"p","x":"建议：首先，准备工作要做充足。其次，在拍摄的时候，要注重构图的把握，注意人物和环境的关系，同时也要对后期方式和思路有一个大概的准备，这样才能尽可能的让旅途更轻松，出片更漂亮。","b":false,"xe":"Suggestions: first, prepare thoroughly. Second, when shooting, focus on composition and the relationship between person and environment, while also having a rough plan for the post-processing approach — that way the trip stays as relaxed as possible and the photos come out beautiful."},{"t":"h","x":"帅哥作者","xe":"The handsome author"},{"t":"img","f":"img-24","w":640,"h":640},{"t":"h","x":"▲ 冯韬（Terry F）","xe":"▲ Feng Tao (Terry F)"},{"t":"p","x":"美国Getty Image 签约摄影师","b":false,"xe":"Getty Images contributing photographer"},{"t":"p","x":"华盖创意签约摄影师","b":false,"xe":"Huagai Creative contributing photographer"},{"t":"p","x":"Lofter大神","b":false,"xe":"Lofter master"},{"t":"p","x":"微博：@Terry-F","b":false,"xe":"Weibo: @Terry-F"},{"t":"p","x":"Lofter: terryfengphotography.lofter.com","b":false,"xe":"Lofter: terryfengphotography.lofter.com"},{"t":"p","x":"感谢Terry大神的精彩文章，本篇教程的后期教学部分，将会在下周和大家分享。","b":false,"xe":"Thanks to Terry for this brilliant article. The post-processing part of this tutorial will be shared with everyone next week."},{"t":"p","x":"欢迎关注@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":"img","f":"img-25","w":640,"h":313}],"titleEn":"How to Shoot Distinctive Portraits While Traveling"}