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【速搜问答】30种实用的摄影构图技巧

问答 admin 2个月前 (05-21) 54次浏览 已收录 0个评论

汉英对照:
Chinese-English Translation:

如果有若干垂直排列的主体目标,尝试在场景中寻找到水平元素,如这里模特的头脚上下两个视觉连线,前景的观众剪影边界,使垂直和水平穿插对比。以竖幅拍摄单一主体的时候,把人物置于画面的下方,视觉重心下移,更适应人们观看习惯。

If there are several vertically arranged main objects, try to find horizontal elements in the scene, such as the two visual lines above and below the model’s head and feet, the audience silhouette boundary in the foreground, so that the vertical and horizontal contrast can be interspersed. When shooting a single subject in a vertical frame, the character should be placed at the bottom of the picture, and the visual center of gravity should be moved down, which is more suitable for people’s viewing habits.

在掌握器材的操作之余,对各种构图元素和方式多作了解,提升摄影水平自然事半功倍。能做到――逐一辨识记忆,从实景中提炼概括,并且综合运用到自身创作拍摄――你的构图水平肯定会有进步。下面 30 种拍摄构图技巧,你准备好温故知新了吗?

In addition to mastering the operation of equipment, we should know more about various composition elements and methods, so as to improve the level of photography and get twice the result with half the effort. If you can identify and remember one by one, extract and summarize from the real scene, and comprehensively apply it to your own creation and shooting, your composition level will certainly improve. Are you ready to learn from the past?

『边缘逆光』

“Edge against light”

景物适当遮挡,从边缘散射过来的逆光,非常赏心悦目,或者让阳光从线条、对角线的前景后上投射过来,也有助于提升画面。

If the scene is properly blocked, the backlight scattered from the edge is very pleasing to the eye, or the sunlight is projected from the back of the line or diagonal foreground, which also helps to improve the image.

『暗影人物』

“Shadow characters”

在趣味背景前的轮廓分明的人物剪影,干净利落,让画面简洁有力。这能结合下面一个技巧综合使用。

In front of the interesting background, the silhouette of the figure is clear and neat, which makes the picture concise and powerful. This can be combined with the following technique.

『广阔天际』

“Vast sky”

在画面中大胆地使用天空,无论是占到画面三分二还是三分一,效果中不会太坏,以天际为主导,完成构图。

Boldly use the sky in the picture, no matter it accounts for two-thirds or one-third of the picture, the effect will not be too bad, take the sky as the leading, and complete the composition.

『形状离散』

“Shape discrete”

不同形状大小的物体分离摆放,完成整体组合,但要注意不同物体数量和质量,保持视觉的平衡感。

Objects of different shapes and sizes are placed separately to complete the overall combination, but attention should be paid to the quantity and quality of different objects to maintain a sense of visual balance.

『框线切边』

“Border trimming”

让物体的组合摆满整个画面,而画面的边际刚好切到物体外边缘,充实而恰到好处。

Let the combination of objects fill the whole picture, and the edge of the picture just cuts to the outer edge of the object, full and just right.

『中心偏离』

“Center deviation”

让趣味中心脱离画面正中央,放置在三分线上,是经典的构图方法。中心到边框或者四角的二分之一距离处,也可以考虑。

It is a classic composition method to leave the interest center away from the center of the picture and place it on the three-point line. The distance from the center to the border or half of the corner can also be considered.

『光影对照』

“Light and shadow contrast”

尝试在换面中创造强烈的明暗对比,善于利用场景的光线和阴影元素。

Try to create a strong contrast between light and shade in face changing, and be good at using the light and shadow elements of the scene.

『步入视野』

“Step into the vision”

如果画面中有一个运动的、或者是包含动势的主体,表现效果更为出色。安排主体在画面中移动,带上由边框向中心的运动趋势,可以利用身体的朝想,姿势,步态完成。

If there is a moving or moving subject in the picture, the performance effect is better. Arrange the main body to move in the picture, with the movement trend from the border to the center, which can be completed by using the body’s imagination, posture and gait.

『人在光景』

“People in the future”

在自然风光的远景拍摄中,如果包含一个人物作为尺度参考,能更直观有效地表现场景的宏大气势。

In the long-range shooting of natural scenery, if a character is included as a scale reference, it can more intuitively and effectively show the grand momentum of the scene.

『投影之景』

“The scene of projection”

影子元素本身就很酷的,不要错过。

The shadow element itself is cool. Don’t miss it.

『倒影反射』

“Reflection”

配合水中的群山倒影,风光更为丰富独特。寻找水面或者其他可供反射的表现,挖掘倒影的拍摄可能。

With the reflection of the mountains in the water, the scenery is more rich and unique. Looking for water surface or other reflection performance, exploring the possibility of reflection shooting.

『层次堆叠』

“Level stack”

在统一的视角方向上,以不同距离的平面层次堆放叠加,比如这里的山林峰岳,表现出了视觉纵深和风光意趣。

In the direction of a unified perspective, stacked with different distance plane layers, such as the mountains here, showing the visual depth and scenery interest.

『主体满目』

“The subject is full of eyes”

以主体单元为元素,堆叠排列,达到在取景框中填充满溢的效果。

Take the main unit as the element, stack and arrange to achieve the effect of filling overflow in the viewfinder.

『黄金螺旋』

“Golden spiral”

你可以把拍摄的物件按照斐波那契螺旋线为引导,进行排列。或者选取角度,让单个主体的局部或者多样主体的排布,以螺旋线的形式展现。

You can arrange the objects according to the Fibonacci spiral. Or select the angle, so that the layout of a single subject or multiple subjects can be displayed in the form of helix.

『框式前景』

“Box outlook”

使用了框式的前景,主体得到进一步的突出。比如,通过桥洞拍摄后方的建筑,或者这里,透过树丛的间隙拍摄帐篷。

The use of the box prospect, the main body has been further highlighted. For example, take photos of the buildings behind the bridge, or here, take photos of the tents through the gaps between the trees.

『强力三角』

“Power triangle”

与画面边框相交的三角结构,能把观众的注意力从画面边缘引导到三角顶端。

The triangle structure intersecting with the frame of the picture can guide the audience’s attention from the edge of the picture to the top of the triangle.

『三角倒置』

“Triangle inversion”

倒三角的方向也能引导观众视线到交汇之处,比如这里,从手臂、手腕、手掌到两手相触,完成观察方向的引导。

The direction of the inverted triangle can also guide the audience to the intersection, for example, here, from the arms, wrists, palms to the touch of two hands to complete the guidance of the observation direction.

『几何切分』

Geometric segmentation

以分明有力的对角线分割画面,特别是两边内容各有趣味中心,构图更有深意而且达到视觉平衡。

The picture is divided by distinct and powerful diagonal lines, especially the content on both sides has interest center, which makes the composition more meaningful and achieves visual balance.

『同轴弧线』

Coaxial arc

物体以不同直径的同心圆作为对齐规律,形成弧线排列,充满几何的秩序与韵律美感。

Objects are aligned by concentric circles of different diameters, forming an arc arrangement, which is full of geometric order and rhythmic beauty.

『边线平行』

“Parallel lines”

将物体的边缘与画面边界平行对齐,顺直整齐的对称式构图,符合人们观察习惯。

The edge of the object is aligned parallel to the boundary of the picture, and the symmetrical composition is straight and neat, which is in line with people’s observation habits.

『垂直平面』

“Vertical plane”

如果有若干垂直排列的主体目标,尝试在场景中寻找到水平元素,如这里模特的头脚上下两个视觉连线,前景的观众剪影边界,使垂直和水平穿插对比。

If there are several vertically arranged main objects, try to find horizontal elements in the scene, such as the two visual lines above and below the model’s head and feet, the audience silhouette boundary in the foreground, so that the vertical and horizontal contrast can be interspersed.

『凝固动态』

“Solidification dynamics”

捕捉动作瞬间,可以主动重复动作,反复尝试拍摄,或等待可预见的运动轨迹,提前准备。

Capture the moment of action, can take the initiative to repeat the action, repeatedly try to shoot, or wait for the foreseeable trajectory, prepare in advance.

『打破样式』

“Breaking the pattern”

当见到连片的样式重复,比如此处人们举手以及灯光投射,适当引入物体打破连续性,如此处的柱子,很多时候会带来新鲜的画面节奏。

When we see the repeated patterns of continuous films, such as people raising their hands and lighting projection, properly introducing objects to break the continuity, the columns in such places often bring fresh rhythm to the picture.

『对线交汇』

“Line to line intersection”

如同三角引导线,对角线交叉,能非常自然把观众视线引导到交点。

Just like the triangle guide line, the diagonal crossing can naturally guide the audience to the intersection.

『眼神视线』

“Eye sight”

人物的眼神方向也是一种隐形的引导线,此时男跑者的望向女跑者,让女跑者本身在三分线的趣味中心之上,再加强了一层引导突出。

The direction of the characters’ eyes is also a kind of invisible guiding line. At this time, the male runner looks at the female runner, which makes the female runner himself above the interest center of the three-point line and strengthens a layer of guidance.

『垂直连通』

“Vertical connectivity”

画面上下方有相同属性的景物,能创造出垂直方向上的视觉连续性,形成呼应。比如此处,地面滑行与空中飞越的人。

The scenery with the same attributes above and below the screen can create visual continuity in the vertical direction and form echo. More than that, people who glide on the ground and fly in the air.

『重心下框』

“Center of gravity lower frame”

以竖幅拍摄单一主体的时候,把人物置于画面的下方,视觉重心下移,更适应人们观看习惯。

When shooting a single subject in a vertical frame, the character should be placed at the bottom of the picture, and the visual center of gravity should be moved down, which is more suitable for people’s viewing habits.

『性质对比』

“Comparison of nature”

利用画面元素的外观性质显著对比:液体-固体、坚硬-柔软、细腻-粗糙等,能大大增强画面的趣味性。这里用到水和贝壳的对比。

It can greatly enhance the interest of the screen by making use of the obvious contrast of the appearance properties of the screen elements: liquid solid, hard soft, delicate rough, etc. Here’s a comparison of water and shells.

『动态平衡』

Dynamic balance

画面中有多个主体需要表现,而不能形成对称关系的话,应该让它们达成视角上的平衡。比如,远处风车接近中心,那么在画面边缘近距离设置另一台风车,以达到画面的平衡。

If there are multiple subjects in the picture that need to be represented but cannot form a symmetrical relationship, they should be balanced in perspective. For example, if the remote windmill is close to the center, another windmill is set close to the edge of the picture to achieve the balance of the picture.

『渐远透视』

“Perspective from the distance”

利用焦点到虚化、以及距离的远近变化过渡,画面中透视纵深,就能通过景物的比例缩放来体现了。

The depth of perspective in the picture can be reflected through the scaling of the scene by using the transition from focus to virtual and the change of distance.


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