Composing Your Perspectives

由专筑网杨帆，刘庆新编译

我得到询问最多的一个问题就是怎样组织透视镜头。过去我也接触过这个主题，但是没有把这些概念组织在一起。下面讨论的技巧绝对不是什么准则。通常情况下会有环境因素限制了我们的构思，我将它们区分开。但是，我也经常将这些想法作为一个出发点。

One of the questions I get asked most is how do I compose perspective shots. I have touched on this subject in past posts but have not organized these concepts into one place. The tips discussed below are by no means the law. There are often circumstances that limit how much the below ideas can be or should be implemented. I break them all of the time. But still, I often start with these ideas as a jumping off point.


1. 九宫格准则

九宫格准则是最知名的摄影准则之一，也是我用的最多的一个。它将页面在水平方向和竖直方向都分割成三部分，创建出9个方格。图像的组织从这一步开始，重要的焦点画面落于线上或交叉点上。

1. Rule of Thirds
The rule of thirds is one of the more well know photography rules and is one that I use most often. Divide the page into three sections both horizontally and vertically creating nine squares. From there, compose the image so that important moments or focal points fall along the lines or at their intersections.

我经常将人视点的地平线建立在页面的底部三分之一位置，而不是直接位于图中心。你会注意到还有一些重要元素恰好位于线上，比如火车站建筑的边缘和右面的火车信号灯。

I often place the horizon line of eye level views on the bottom third of the page instead of directly in the center of the image. You will notice that other important elements land on the lines too such as the end of the train pavilion and the railroad crossing lights to the right.

将地平线位于顶部三分之一位置也会获得人视角度较低的鸟瞰图。

Placing the horizon line on the top third of the page also works for low birds’ eye shots.

九宫格原则也适用于室内镜头。在这个案例中，透视线集中在图像右侧底部的三分之一位置处。其次，准线和横梁的交叉点也处于页面顶部和左侧的三分之一处。

The rule of thirds also works great for interior shots. In this case, the perspective lines converge on the bottom right third of the image. Secondary alignments occur with the beams on the top third and left third.


2. 单点透视的切换

换言之，设置相机位置垂直于建筑结构，产生一个视角的立面渲染。虽然这种类型的效果图多呈现静态，但是在一系列图中，与相对夺目的图放在一起，就能起到很好的互补效果。当我希望一处场所给人的感觉更柔和或更不朽，我会使用点视角。

2. Switch to One Point Perspective
In other words, set the camera perpendicular to the structure essentially generating a perspective elevation rendering. Though this type of image sometimes comes off as a little static, it can be a good compliment when paired with more aggressively composed images in a series of illustrations. I often implement one point perspectives when I want a place to feel a little more subdued or monumental.

上图中，相机的摆放与火车站的天桥垂直。这样在图中创建了许多水平和垂直的线，与图中占主导地位的对角线形成对比。

Above, the camera is placed perpendicular to the train pavilion bridge. This creates a lot of horizontal and vertical lines in the image as opposed to diagonal lines dominating the composition.


3. 中心

中心很难定位，但是一旦成功，它就能生成一个引人注目的图像。图像焦点直接位于图中心，与图中其他元素相比，显得层次更加鲜明。

3. Centering
Centering is hard to pull off, but when done well, it can generate a really compelling image. The focal point of the image is placed directly in the center of the image and is hierarchically stronger than all other elements of the composition.

上图中，图不是完全对称的，但是仍然显得很平衡。周围建筑虽然都比较低矮，但在高度上大致相近，注意力就会被吸引到图的中心。

Above, the image is not perfectly symmetrical, but still has a balance to it. The surrounding context is lower, but equal in height, drawing the eye to the center of the image..


4. 自然占主导地位

在某些情况下，图中的建筑会远少于背景元素。这样，我们就需要将地平线移得较低，使天空显得更加静谧。这种方法在地平面中也适用，将图中的地平线移高，增加景观的修饰，尽可能减少建筑。

4. Nature Dominate
In some cases, it is less about the architecture and more about the context. In these situations, the horizon line is moved very low giving a lot of image real estate to the sky. The same can be done with the ground plane moving the horizon line high in the image playing up the landscape and minimizing the architecture.

景观，确切地说是天空，现在在图中也起到了关键作用，而不是只是作为建筑的背景。

The landscape and more specifically the sky now have a pivotal role in this image instead of acting as a background to the architecture.


5. 亲密法则

我们常常遇到的情况是试图通过渲染图讲述关于设计的多个故事，可以涵盖诸多目标。这往往会导致图像效果较差，因为重点放在了核对各个元素上面，而不是选择一个更好的或更有人性化的视野。我们不用通过将相机尽可能远移来获得详细的信息，而是聚焦于一个点或想法上来突出它。

5. Get Intimate
All too often, images try to cover too many objectives by telling multiple stories about the design. This leads to weaker images because the focus is on checking boxes instead of choosing a view that compositionally is better or that better connects emotionally. Instead of pulling the camera out further and further to get in as much information as possible, move in closer and focus in on a single idea.

关于这张挑台的渲染图，里面包含了许多设计元素，比如宏伟的楼梯、露台下的地面等。但是，这其中我只关注了一个想法，那就是怎样设置一个悬挑的露天景观平台，从而创建出一处冥思的空间。

For the cliff retreat image, I could have included a lot more elements of the design such as the grand stair, the ground level deck below, etc. However, I instead focused on one idea which was how the cantilevered viewing platform projected out from the cliff and the contemplative space that this created.

尽管如此，图中还是会伴随着一些其他的景观元素，但焦点仍然放在了街道如何和倾斜的文化中心基座上的台阶连接起来的。

Even though there is a lot going on in this image, there is still only a single focus which is how the street connects to the monumental stair slanting up the culture center plinth.


6. 纠正垂直线

绝大多数建筑摄影师遵循这个规律，因为它被认为是建筑中更精确的代表。完成这个或添加一层是很容易实现的。我们只需在视平线和低的鸟瞰视图中做出调整即可。有着高层建筑如摩天大楼的图，也可以在垂直方向作此纠正。

6. Correcting the verticals
Most, if not all, architectural photographers follow this convention because it is considered a more accurate representation of the architecture. It is simple to execute and adds another level of refinement to the composition. The adjustment is usually made in eye level and low bird’s eye views. Also, images with really tall buildings like skyscrapers will typically have the verticals corrected.

对于视平线中的镜头，比如上图，垂直线会聚集在相机从地平线仰望方向的更远处。

For shots at eye level such as the one above, often the vertical lines will converge (angle left or right) the further the camera looks up from the horizon.

上图展示了垂直线的纠正。其实还有许多种方法。渲染时，我通常设置我的3D模型软件为“两点透视”来解决这个问题。但是，如果图已经被渲染或修改了，你可以在Photoshop中进行纠正操作。我早期制作过一个教程来描述这个具体过程。

The above image shows the vertical lines corrected. There are multiple ways to do this. I typically set my 3D model software (Sketchup) to “Two Point Perspective” before rendering which solves this problem. However, if the image is already rendered and edited, you can make the correction in Photoshop. I created a tutorial a long time ago describing this process.


7. 不要做一个巨人

如果你要创建一个视平线视图，那就将相机的高度设置为大约6′，最好将身临其境的观察者也安放在这个空间。人们经常辩解说他们想更好地看到地平线，所以他们将相机高度调到8′、 10′、12′等。但是，这样会产生难看的或不舒服的结果。如果你处理特别陡峭的场地或站在一个露台或阳台上，这个原则就需要有所变化了。

7. Don’t be a Giant
If you are going to create an eye level view, set the camera height to around 6′ to better connect the viewer to the experience of being at that space. People often rationalize that they want to better see the ground plane so they raise the camera to just above head height at 8′, 10′, 12′, etc. However, this makes for an awkward and uncomfortable composition. This rule does break down a bit if you are dealing with extreme sloping sites or standing on a terrace or balcony.

上图中，相机的高度设置为大约地面以上10′处，这很难判断相机是否放置在露台上，如果相机在一个巨人手中，或在一架低飞的无人机上，将这一意图表现出来就显得很重要，可以通过将其降到视平线或高度抬到25′ 或30′。

The camera of the above image is set around 10′ above the ground. It is hard to tell if the camera is placed on a balcony, if it is being held by a giant, or being taken by a low flying drone. It is important to clarify the intent by either dropping it to eye level or raising it up to 25′ or 30′.

此图中，相机高度设置为6′，在人流的空间中营造了一种良好的氛围。

构图时，我们要考虑许多变量因素，有的是无法抵抗的。关于成分的想法，比如以上所述，帮助我们简化了想法过程，加快了原始相机设置。当然还有许多关于元素构成的构思，稍后我会在第二部分或该博文中讲述。

Here, the camera is set at 6′ and gives a better sense of being in the space among the people.
When composing an image, there are so many variables to take into account that it can be somewhat overwhelming. Ideas on composition like the ones above help simplify the thought process and speed up the initial camera setup. There are still many other ideas on composition that I left out which I may revisit later in a part 2 of this post.


出处：本文译自visualizingarchitecture.com/，转载请注明出处。