[摄影绘画]学习风光摄影

6×6方画幅构图正文：Published in the German magazine NaturFoto, May 2003. The photos are the same ones as used in the article.出版于2003年五月的德国杂志《NaturFoto》，这些图同样出自同一篇文章。

Square Scotland方画幅苏格兰Composition with a 6x6...?6×6构图Wim van Velzen并刀如水译River Cononish, Tyndrum, Stirling; Juli 1999, early morningBronica EC-TL, 50 2.8 zenzanon, about 1 sec @ 16, fuji provia 100All images are made with use of a Manfrotto 190B tripod and 410 geared head.所有图片用曼富图190B三角架和410云台拍摄Historically many landscape photographers have used large format cameras. The large negatives or slides deliver beautifully detailed images with a very nice tonality. Most of thetime the subject doesn't move, so the slow way of working is no problem. An added bonus is the possibility of using tilt, rise, shift and the like - those movements enable exact placing of focus and perspective.These cameras have disadvantages as well: heavy carrying is involved, the materials used are rather expensive and slides can hardly be projected.On the other end of camera spectrum there is the 35mm camera (film or digital) with its many lenses, its low weight and relatively low costs. One clear disadvantage they have: the small film area.No surprise many photographers choose the golden mean: the medium format!以往很多风光摄影师使用了大画幅相机。

大底片或幻灯片保留了完美的细节，极好的色调。

大多数情况下，主体不会移动，慢节奏的工作没有问题。

运气好的时候，你还能通过倾斜，上升，移动等来获得精确的对焦和透视。

这种相机的缺点也同样存在：沉重，难以搬运；消耗品较为昂贵；幻灯片难以放映。

照相机谱系的另一端是35mm相机（胶片或数字）及其庞大的镜头群。

重量很轻而且相关费用也很少。

一个明显的缺点是：胶片面积小。

毫不意外的是，很多摄影师选择了中庸之道：中画幅。

Glen Rosa, Isle of Arran; Juli 2001, eveningBronica EC-TL, 150 3.5 zenzanon, about 1/8 sec @ 16, fuji provia 100FLandscape seems to fit best in the panorama format. Most scenery stretches into a certain width. But most medium format cameras make images with a less rectangular ratio, likethe 3:4 of 6x4.5 or 4:5 of the 6x7 format (actually 55x70mm) or even all square: 6x6! And frankly, yes: for panoramas a 6x17 camera is of course a magnificent tool to approach the landscape. But I myself chose the square.全景摄影中风景看起来安排得最好。

大部分景色延伸到一定的宽度。

但是大部分中画幅相机以一种较小的矩阵比率来生成相片，象6x4.5画幅的3:4或者6x7画幅（实际是55x79mm）的4:5，甚至是方画幅：6x6！坦白地讲，对全景摄影来说，6x17画幅的相机当然是诠释风景的华丽武器，但是我自己选择方画幅。

Problem or challenge?问题还是挑战?I like to work within this format. On first sight it isn't the most intuitive for landscape, but it has several important advantages for me.This format is very flexible for composition - but there is more. In this article I mention the most important points. By no means though am I claiming superiority for the square over other formats. But it certainly is different and has its own charms.我喜欢用这种画幅工作。

第一眼看去，它并不是风景最直观的表现，但是它对我来说有几个重要的优点。

这种画幅构图十分灵活－－而且不止这些。

在这篇文章里，我将阐明最重要的几点。

我并不是宣称方画幅比其它画幅优越，但是它的确不同，有它自己的魅力。

Sanna Bay, Ardnamurchan, Highlands; August 2001, around noonBronica EC-TL, 80 2.4 zenzanon, about 1/30 sec @ 16-22, fuji provia 100FComposition构图The square frame has no tension as such. It gives the subject lots of space and therefore breaths rest. It is up to the photographer to give the image tension and excitement by means of subject choice and composition. In other words: lots of space for the photographer as well!方画幅没有其它画幅那种张力。

它留给主体更多空间，可以自由呼吸。

借助于主体的选择和构图，摄影师可以给予图像以张力和兴奋感。

换句话就是：对摄影师而言，留下许多空间更好！To me a good (landscape) photograph, is a photo where my eyes are drawn all over the image and make some sort of route. As a photographer one can use forms, colours or visually striking parts of the subject itself. Nice is of course when all these different image elements come together and support each other.对我而言，一幅好的（风景）图片，就是可以吸引我的眼睛遍及各处图像且形成了某些路线。

作为一个摄影师，他可以使用形状，颜色或者主体本身视觉上能打动人的部分。

当所有这些不同的图像元素汇集在一起，相互支持，自然就成为一幅好图片。

A good exercise for me to learn how to compose is this: I take a photograph that has some value for me, that doesn't leave my mind. On a piece of paper I make an outline of the most important parts of the photo. Then I take a pencil and put a circle or circles about the point(s) my eye keeps returning to. Then I place some arrows to point out the route my eyes take from point to point.对我而言，一个学习怎样构图的好的训练方法是：拍一张对我来说符合我的意图的有价值的图片。

在几张纸上我画出图片中最重要部分的轮廓。

然后我拿根铅笔，把那个或那些能使我的眼睛最终停留的点上画一个或多个圈。

最后我画出一些箭头来指出让我的眼睛从一个点移向另一点的路线。

This analysis of images is a good way as well to judge my own images critically. Have I framed well or are some parts meaningless? Are some elements disturbing because they draw to much attention? Is the photo a unity, or did I just draw all independent arrows? During the process of making photographs I try to see what the most important points of the subject will be, in other words: where the circle(s) will be put. Then I frame around those points in such a way that all of the images will be filled with arrows - parts without interest should be left out.这种对图片的分析是准确评判我自己图片的好方法。