Forget the Rule of Thirds, do this instead…
Summary
TLDR本视频讨论了摄影中的构图技巧,强调了主体与陪体之间的关系对于创作有冲击力的照片的重要性。视频中提到,尽管有许多构图规则,如三分法、奇数法则等,但关键在于如何让陪体突出主体,而不是分散观众的注意力。摄影师需要通过观察和实践,找到最佳的拍摄方式,以确保照片中的每个元素都能和谐地共同讲述一个故事。
Takeaways
- 📸 摄影中构图的重要性,尤其是对于初学者来说,构图规则如三分法则、奇数法则等虽有用,但更重要的是拍摄对象的选择。
- 🌟 选择拍摄对象时,应寻找那些真正吸引你眼球的事物,因为个人兴趣和审美各异,所以每个人的拍摄对象也会不同。
- 🎥 拍摄过程中,要思考如何突出主体,寻找辅助元素来衬托主体,增强照片的美感、大小、质感或氛围。
- 🌳 辅助元素的选择和使用要恰到好处,避免过多或过少,以免分散观众对主体的注意力。
- 🏞️ 拍摄时要考虑如何安排辅助元素在画面中的比例和位置,以及它们与主体的关系,以创造出最佳的视觉效果。
- 📷 有时候,简单的辅助元素,如负空间,就能有效地突出主体,而复杂的场景则需要更细致的构图思考。
- 🚶♂️ 在场景中有多个潜在拍摄对象时,要注意它们在画面中的间隔和等待时机,以避免画面过于拥挤。
- 🤔 有时候,辅助元素会自然而然地出现,使得拍摄方式变得显而易见,而有时候则需要摄影师去寻找和创造。
- 🏠 通过调整焦距、拍摄角度和位置,可以更好地强调主体与辅助元素之间的关系,从而提升照片的冲击力。
- 🌐 摄影师分享了他对Squarespace网站的使用体验,强调了它在个人作品展示和组合方面的便利性。
- 🔗 鼓励观众尝试使用Squarespace创建自己的网站,并通过提供的链接获得优惠,以便更好地展示和分享他们的作品。
Q & A
视频开头提到的Squarespace是什么?
-Squarespace是一家提供网站建设和域名服务的公司,用户可以通过访问squarespace.com/James来享受首次购买的优惠。
视频中提到的构图技巧有哪些?
-视频中提到了规则的构图技巧,如三分法则、奇数规则、空间规则、引导线、负空间、填充画面、前景填充等。
为什么说选择拍摄对象比拍摄方式更重要?
-因为如果拍摄对象本身无聊,无论采用何种拍摄技巧,最终的作品仍然会显得乏味。选择有趣的拍摄对象是创作吸引人照片的关键。
视频中如何比喻主拍摄对象和辅助拍摄对象的关系?
-视频将主拍摄对象和辅助拍摄对象的关系比作电影中的主角和配角,配角的作用是突出主角,使主角更加引人注目。
如何判断辅助拍摄对象是否真正支持了主拍摄对象?
-如果辅助拍摄对象能够增强主拍摄对象的美感、大小、质感或氛围,而不是分散观众的注意力,那么它就是真正支持了主拍摄对象。
在构图时如何处理主拍摄对象和辅助拍摄对象的比例?
-需要通过尝试不同的构图方式,找到合适的比例,使得辅助拍摄对象能够充分支持主拍摄对象而不至于分散注意力。
为什么在拍摄时要考虑元素之间的间距和等待时机?
-当场景中有两个以上的元素时,合理的间距和等待合适的时机可以避免画面显得过于拥挤,保持视觉上的平衡和舒适。
如何确保在构图时做出有意识的决定?
-无论选择包含还是排除辅助拍摄对象的全部或部分,都需要有明确的目的和意图,这样可以确保最终作品的效果是经过深思熟虑的。
视频中提到的南极企鹅的照片有什么特点?
-南极企鹅的照片特点是,很明显地需要包含小木屋和山脉作为辅助拍摄对象,这些元素与企鹅形成了一个完整的、有故事性的画面。
视频最后提到了Squarespace的网站构建特点有哪些?
-Squarespace的网站构建特点包括免费试用、拖放式设计、选择模板和轻松排序照片等,非常适合摄影师用来构建个人作品网站和在线作品集。
视频作者为什么喜欢使用Squarespace作为他的作品集网站?
-视频作者喜欢使用Squarespace,因为他可以不断地回顾和调整网站,享受挑选和排列自己喜欢的照片的过程,而且可以很好地展示他的作品和故事线。
Outlines
📸 摄影构图的艺术
本段主要讨论了摄影中的构图技巧,强调了除了遵循如三分法则、奇数法则等传统规则外,更重要的是如何选择合适的拍摄对象和拍摄方式。提到了即使有引导线等技巧,如果拍摄对象本身无聊,照片依然会显得乏味。因此,作者分享了他如何选择拍摄对象和如何利用辅助元素来突出主要对象,以及如何在不失主要对象突出性的前提下,决定包含多少辅助元素进入画面。
🏞️ 拍摄故事与情感
这段内容进一步探讨了如何在摄影中讲述故事和传达情感。作者通过比喻,将电影中的主演和配角的关系与摄影中的主拍摄对象和辅助对象的关系相提并论,说明了辅助对象如何帮助突出主要对象,并增强照片的故事性。通过具体的例子,如康沃尔的矿山塔和轮式手推车等,说明了作者如何通过选择性地包含或排除某些元素,来增强或削弱照片的故事性和视觉冲击力。
🔍 寻找最佳构图
最后一段内容总结了作者在摄影中寻找和实现最佳构图的方法和思考过程。作者强调了在拍摄时不仅要考虑拍摄什么,还要考虑如何拍摄。他分享了自己如何在拍摄现场评估和选择辅助元素,以及如何通过改变焦距、拍摄角度和位置来优化主要对象的呈现。此外,作者还提到了在构图中如何处理多个竞争对象,以及如何通过这些元素的组合创造出大于各部分总和的效果。最后,作者感谢了视频赞助商Squarespace,并鼓励观众访问他的网站,体验他如何通过Squarespace展示和策划自己的摄影作品。
Mindmap
Keywords
💡构图
💡三分法
💡主体
💡次要元素
💡负空间
💡领导线
💡填充画面
💡前景
💡个人偏好
💡Squarespace
💡摄影组合
Highlights
本次视频感谢Squarespace赞助,如果需要建立网站或购买域名,可以访问squarespace.com/James享受首单九折优惠。
今天要讨论的是摄影中经常被问到的构图问题,尽管已经有很多YouTube视频、博客和书籍讨论过,但仍值得再次探讨。
构图的技巧如三分法、奇数原则、空间规则、引导线、负空间等都是强大的技术,但初学者往往因为过分关注这些规则而忽略了拍摄对象本身的重要性。
如果拍摄对象本身无聊,无论采用何种构图技巧,最终作品仍会显得乏味。
摄影中最重要的是确定拍摄对象和如何拍摄,这比构图规则更为关键。
在摄影中,主要拍摄对象和辅助对象的关系就像电影中的主角和配角,配角的作用是突出主角。
辅助对象应该以某种方式帮助主要对象脱颖而出,比如强调美感、大小、质感或氛围。
在构图时,要考虑如何平衡辅助对象与主要对象的比例,以确保辅助对象能够恰当地衬托主要对象而不会造成干扰。
通过观察和实践,可以学会如何识别并利用辅助对象来增强照片的故事性和视觉冲击力。
个人的审美和偏好在决定哪些元素是分散注意力、哪些元素是增添故事性时起着关键作用。
在场景中包含多个元素时,元素之间的间距和等待时机是关键。
在构图时,要有意识地选择是否完整地包含辅助对象,以避免画面显得杂乱无章。
有时候辅助对象的出现是如此明显,以至于你不需要过多思考就知道如何拍摄。
在某些情况下,需要寻找和尝试不同的视角来找到最佳的辅助元素。
通过调整焦距、拍摄角度和位置,可以更好地强调主要对象和辅助对象之间的关系,从而创造出更具冲击力的作品。
有时候,简单的负空间也可以成为有效的辅助对象,增强主要对象的突出性。
总结来说,摄影不仅仅是决定拍摄什么,更重要的是如何拍摄,以及如何通过辅助对象来最大化主要对象的影响力。
Transcripts
a big thank you to Squarespace for
sponsoring this week's video if you need
a website or a domain go to
squarespace.com forward slash James for
10 off your first purchase hi everyone
um I press record and then my laptop
died so I've just rebooted it hopefully
that fixes the problems we'll see
today what I thought I'd do is talk a
little bit about composition which is
probably the thing that I'm asked most
about in photography and I've not spoken
about it for ages so I thought today we
could revisit it
um there are lots of composition videos
on YouTube
lots of information on blogs and in
books and stuff but most of it I have
found centers on the rules rule of
thirds rule of odds rule of space
leading lines negative space filling the
frame packing the foreground all that
stuff all good stuff powerful techniques
and as useful as those techniques can be
I have found particularly when you're
dealing with beginners that often it
will end up informing what they shoot
not just how they shoot and the issue
with that is that if you've got a boring
subject it doesn't matter how you shoot
it and if you've got a leading line
towards it it's still going to be boring
so today what I thought I'd do is talk
through how I think about what to shoot
and just as importantly how I shoot it
in the hope that it's interesting maybe
useful it's not the way it's just a way
as with all photography there is no
right and wrong but uh yes let's
see if this laptop works now the easiest
part of Photography as far as I'm
concerned is working out what it is that
we want to photograph and the reason
that I think is the easiest part of
Photography is that my parameters are
pretty loose really basically if I see
something that I think looks nice I will
want to photograph it now of course
those things will be different for all
of us some of us like mountains some of
us like dogs some of us like insects now
the difficult bit and in fact I think
the hardest bit of Photography is
working out how to photograph those
things and in the main that's what I
want to talk about today now every film
or movie has a lead actor
or most of them do and every film or
movie or most of them have supporting
actors and typically the job of the
supporting actor is to make the lead
actor stand out in some way and so
dialogue with the supporting actor can
make the lead actor seem a bit softer
and equally if the supporting actor
needs saving in some way then the lead
actor can look caring or tough but in
many instances the relationship between
a supporting actor and a lead actor is
crucial for the story and I think it's
exactly the same in photography so we
have our main subjects in our photos the
thing that caught our eye but we also
have supporting subjects and it's the
job of those supporting subjects to
accentuate the main subject and maybe
they'll be accentuating the beauty the
size the texture the mood but in some
way they will be helping our main
subject stand out so this photo here I
think is a pretty good example of that
we've got the Caravan plan which is the
main subject and then this tree
overhanging it which I would suggest is
a supporting subject and I suppose it's
kind of acting as like a shelter a
protector of some kind but I'd also say
it's a crucial part of the story of this
Caravan and whenever I'm photographing
something like this and I see pretty
much straight away that the supporting
subject really is supporting the main
subject and not distracting from it then
I know for sure that I want to include
it in my scene the question then becomes
how much of it do I want to include in
my scene because the key with this photo
and indeed all photos is trying to work
out your quantities how much of your
supporting subject do you need to show
for it to adequately support your main
subject without distracting from the
main subject and so if I was to crop
into this Caravan I think you'd
completely lose the sense of place that
you get with a large percentage of this
tree in the frame similarly if I'd have
gone for a wider focal length or if I
show got this from further back and
ended up with more of the tree in the
frame I think the result would have
ended up with the subject being too
small in the frame and not prominent
enough I saved the subject the Caravan
and so for me composition is really
working out this dance between the
supporting elements and the main subject
and how they can both complement each
other the best and if you look through
my portfolio there are plenty of
examples where I've got a supporting
subject but where I don't include the
entire supporting subject and more often
than not that's because I want a
supporting subject I really feel it adds
to the scene but my concern is that by
including the entire supporting subject
I would dilute the impact of the main
subject so that's definitely the case
with these electricity pylons in Abu
Dhabi I like how the supporting subject
in the foreground acts as a frame for
the one in the distance but were I to
include any more of the one in the
foreground than I think the one in the
background the main subject would just
become inconsequential is that a word if
I made that up inconsequential
it sounds right uh here's another one so
this is a mine down in Cornwall you
might remember this from a video last
year uh and at the mine was this tower
that you see on the right hand side of
this image and in this photo I decided
not to include the entire thing for fear
of diluting the main subject and so like
I say my mindset is this constant dance
between how the supporting subjects
interact with the main subject and
ultimately what we're trying to do is
work out what adds to the story and what
distracts from the story and It's tricky
because that will always be down to
personal opinion so let's take these
wheelbarrows for example which I shot
down in Cornwall last year as well now I
could have made this shot an awful lot
simpler by taking 10 Paces to my right
and then I basically could have got a
profile of them just with the c behind
or if I've got lower I wouldn't have
even had to have had the ocean I could
have just had three wheelbarrows in a
line and then a wall behind them and so
what I've chosen to do actively is is to
position myself to include an awful lot
more than that and in my view the things
that I've chosen to add have added to
the story and to the shot but of course
you may disagree you may find the stuff
in the background super distracting and
think the photo is just way too
complicated uh same with this shot so
this was another one from the frost last
winter we've got the Sheep we've got
this bright orange tree we've got the
steam coming off this Farm or factory
whatever it is then we've got the moon
so on the one hand it looks like quite a
simple scene I think because of the
color palette more than anything else
but also there's quite a lot going on
and how much you include and how much
you take away from a shot will always be
down to personal preference but working
out what you think is distracting what
you think adds I think is the Crux of
good photography and I should say
actually that whenever there are more
than two elements in a scene so here
we've got arguably four potential
subjects whenever that's the case
spacing and waiting are key and if
you've got one half of the image which
is super crowded where all other
potential subjects sitting it's probably
not going to look all that nice on the
eye oh the other thing is just this
image and photos like this I can show
you some other examples too is that
regardless of whether you choose to
include or not include the entirety of a
supporting subject you need to be
deliberate about it so with this shot
for example there is some space between
the subjects and the edge of the frame
and that I have found is crucial if
you're going to include the entirety of
a subject because the closer to the edge
of a frame a supporting subject or a
main subject gets the more likely it is
to look cluttered distracting or just
like a mistake now sometimes supporting
subjects will present themselves to you
in such a way that it's so obvious how
to shoot them that you don't even really
need to think about it this one's a good
example of that these penguins that are
shot in Antarctica I knew I wanted the
Hut as well and I knew I wanted the
mountains they're too fantastic
supporting subjects and so it was just
entirely obvious immediately how I had
to shoot that this is another good
example again in Cornwall all where the
swell was coming in in such a direction
that basically meant the waves were
pointing up to the buildings from the
corner of the frame and it just meant
that the supporting elements are either
waves presented themselves in such a way
that was so obvious that you had to
shoot it like that but then other times
I'll find scenes which kind of look nice
but I'll have to hunt a bit for a
supporting element and this house is a
pretty good example of that so it's a
nice enough country house surrounded by
Greenery but I don't think it's
particularly strong or compelling image
but luckily after a bit of hunting I
found a track leading to the house and
that track basically became a really
effective supporting element and
therefore it was an absolute no-brainer
to try multiple ways of including that
in the frame so yeah the rules they're
great rule of thirds all that fantastic
but I think what matters equally is
having a grasp of main subject and
supporting subjects and how they can be
gelled together to create the most
impactful shot so to summarize I will go
out and try and find something that
makes me think oh that's nice I'll then
look around the subject to try and see
if there's anything that adds to the
subject or distracts from it and
subsequently I'll then try and work out
how I can add some of the stuff
into my frame that supports the subject
and how I can get rid of some of the
stuff that doesn't and finally once I'm
in a place where I've done that I'll
then try and work out if I can use focal
lengths or moving forward or backwards
or getting low or high or whatever to
try and work out how I can best
emphasize the relationship between those
elements and how I can utilize the
supporting subjects to maximize the
prominence of the main subject and when
I say prominence I don't just mean the
size of the frame I mean the impact that
the subject has on you given its
surroundings and sometimes supporting
subjects are really simple it can just
be negative space around a subject and
other times it's more of a jigsaw where
you've got four or five competing
subjects and you're trying to work out
how to piece them together in such a way
that they add up to more than the sum of
their parts rather than less than the
sum of their parts but in short that is
how I go about trying to work out not
just what to shoot but how to shoot it
and hopefully it made some sense anyway
thank you for listening to me uh rub it
on for I've been talking
can't see and also thank you to the
sponsor of this week's video Squarespace
so many of the photos that I've shown
you today are in my portfolio and
therefore on my website because my
website my Squarespace website is my
portfolio and one of my favorite things
in life to do is sit with a coffee and
curate my favorite images and if I get
back from a trip and I've got a couple
more portfolio shots then sitting down
and trying to work out how to add them
to my portfolio and where they should
sit in my portfolio given their tone
given their storyline given their mood
that is just a process that I absolutely
love and of course there are many ways
you can do that some people like to
curate books other people like to do
zines and I love to do those things too
but a website is something you can
revisit time and time again and you can
just sit there and sequence all day
until your heart's content so if you
would like to check out Squarespace for
yourself you can do so for free by going
to squarespace.com to start your free
trial and you can select a template find
one that looks pretty good to you and
then it's just a case of drag and drop
and ordering your photos as you wish and
then when you've got a website that you
help you with at the end of your trial
if you'd like to make a purchase you can
save 10 of that first purchase by going
to squarespace.com forward slash James
yeah and a big thank you to them for
their continued support of this Channel
and to you for watching uh next week
we'll be back outside I always say that
but we will I'm not doing two indoor
videos in a row and like I said I think
at the end of last week's video it'll
probably be in the rain
plus okay I'll see you then
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