賽德克·小寶

Amber梁馨心·LoFoTo:

 

Shipbreaking #31,

Chittagong, Bangladesh

Edward Burtynsky

2001

The layered look   层次感

Landscape photographers are especially picky. They don’t simply plonk their tripods anywhere. They hunt around for just the right spot. And it’s not a case of around about here will do, it’s case of exactly here.

风光摄影师是格外挑剔的一群事儿精，他们绝不会简单的将三脚架随便往地上一搁，而是四处搜寻最佳位置。且不是”嗯，大约就是这里了”，是“绝对就是这里！”

In this image by Edward Burtynsky the subject is a rusting container ship. But the composition has a few more layers to it than that. Look at the textured mud in the very foreground, which leads us into the reflection and then up to the subject. This foreground mud isn’t there by chance. Buretynsky positioned himself to make this an essential part of the composition. It’s what’s called ‘foreground interest’.

在这张由爱德华.伯汀斯基拍摄的照片中，主题是一艘生锈的集装箱货运船，但实际上构图更加富有层次感。瞧瞧前景处那纹理鲜明的泥滩，令我们先注意到倒映在水中船的映像，而后才向上注意到主题。这摊前景处的泥可不是偶然，而是伯汀斯基特意将自己放置于此来创作出这一构图中的基础部分，也就是所谓的“前景趣味”。

Foreground interest offers the viewer a stepping stone into your image and heightens its sense of depth.

前景的趣味为观者提供了一块儿融入景致的垫脚石，也能为你提高照片中的层次感。

Here, without the foreground interest, our eyes would feel to separated from the middle distance and background, and the image would lose its sense of depth. Cover the foreground area with your hand and you’re suddenly stranded, forced to make a visual leap of faith across a murky expanse of water.

在这张照片中，如果没有前景趣味，我们会觉得自己的视线似乎被中景和背景分离，而后这张照片会失去它应有的层次感。试试用你的手将前景盖住，就会像是突然被搁浅，你憋屈的不行只能强迫自己的视线做一个180度大转变，迅速的掠过那模糊一片的水域。

When shooting landscapes, it’s easy to fixate on the big vistas, but always keep an eye on what’s going on immediately around you. Often what’s right at your feet holds the key to a crafted composition. 

当你在拍摄风景时，也许很容易就注意到大大的远景，但是也要记得留心身边周围最近的事物。你双脚所笃定的位置永远是精心创作构图的关键。