 對于攝影來說，我們使用很小的一塊“畫布”，就是相機取景器，這就好比畫家在畫布上繪畫一樣。攝影師和畫家都運用瞬間、內容和構圖來完成他們的作品。好照片成功的主要因素之一就是構圖，構圖好比驅動整張照片的引擎，能帶動整張照片。
 拍攝樣張 美國亞歷桑那州的Davis-Monthan空軍基地是用來存放美國退役飛機的，大量廢棄和需要維修的飛機都降落在這里。這些巨型飛機B52，僅僅一個機翼的寬度就是300英尺，但在圖片中看起卻像一個個玩具一樣，而大量同樣飛機的重復，是讓這張照片成功的關鍵。該照片使用了20mm的鏡頭，曝光組合為快門速度1/125s、光圈值f8 遵循構圖的一些原則，就可以拍到更好的照片。構圖的原則是什么?我們如何在攝影中運用這些原則?本章將討論各種構圖原則和指導方針，但是切記這些原則并不是一成不變的，因為構圖可以說是極為主觀的。攝影的魅力一部分來自于既遵循規則，也能徹底拋棄所謂的規則。就好比欣賞繪畫作品，評價一幅作品是否成功完全基于個人自己的品位和喜好。  拍攝樣張
1 經典構圖法則 幾個世紀以來，畫家遵循的構圖法則對于攝影同樣適用。這些原則包括三分法、引導線和張力。 1.1 三分法 經典構圖理論法則之一就是三分法。這是一個簡單卻非常有效的構圖方法，可以將觀眾的注意力集中到某幾個關鍵點上。這條法則在美術和攝影領域通用，可以使得圖片看起非常均衡，更加協調和舒適。  這個表格橫豎分割線上的交叉點就是用來“擺放”拍攝主體的位置 將這個法則視覺化，對著相機取景器，即將畫面縱橫均分為3份，從而使畫面被分割成為9個相等的方塊，4條分割線上出現4個交叉點，拍攝的時候讓拍攝主體或者核心興趣點落這4點上的一個，作為畫面趣味中心的最佳位置。  拍攝樣張 為美國《國家地理》拍攝美國的大湖區，旨在反映湖水水面的起落。我想突出背景中巖石上的高水位線。使用三分法來構圖，我拍攝了一個釣魚的人。根據三分法的原則，我將釣魚人的手和繞線軸放到了4個交叉點之一的位置上，引導讀者的目光關注繞線軸。此圖片使用了20mm~35mm的鏡頭，曝光組合為快門速度1/60s、光圈值f11 1.2 S曲線 人的視線也會被柔和的S曲線的走向吸引。例如，一條道路或者河流從畫面的前景朝遠處延伸，如果你將被拍攝主體置于這樣的曲線上也會吸引觀眾的注意力。 1.3 畫面節奏和模式重復 就像本章開始的B52型飛機的照片，就體現了構圖的另外一個法則，即模式的重復與節奏重復。看畫面中重復的飛機的圖像，它將人們的視線從前景一直帶入到背景。  拍攝樣張 作為《美國方式》雜志的供稿攝影師，我為該雜志在威爾士拍攝了圖片故事，這張照片就是在威爾士拍攝到的行使在路上的吉普賽人的馬車。S形的道路將人的目光引入畫面，也讓畫面感覺更柔和。此圖片使用了24mm鏡頭，曝光組合為快門速度1/60s、光圈值f4 線條，是由點向外移動形成的軌跡，在藝術中是表現物體的基本手段，是畫面的重要元素之一。線條不僅具有方向性和形式美，而且極富情感色彩和藝術表現力。在攝影中表現線條有三種基本方法：
一、表露式表現：點、線、面是表現物體的基本形式。有些物體本身主要是由線條構成，它們表露在場景之中，形成某種形式美，拍攝就以這些線條為主體，或以它們作滿幅前景構成畫面，稱之為表露式表現。（見圖一）
二、隱現式表現：有些線條是由景物間的界線、景物的輪廓或色彩、影調之間的差異而形成的。拍攝時留心選擇捕捉，可增強畫面的藝術表現力。這種以隱現的線條構成的畫面，稱之為隱現式表現。（見圖二）
三、創意式表現：有些拍攝場景缺少優美線條，或只有點和面而無線，我們利用或人為手段，給畫面增添了線，這種表現稱之為創意式表現。照片《夜空》是日本攝影家綠川洋一的作品，拍攝時將鏡頭對準北極星，經過一夜的長時間曝光，拍下了以北極星為中心的星星運動的圓形軌跡。
盡管有一種被窺視的感覺防礙著我，說是王婆賣瓜也好，大言不慚也好，我還是希望能夠分析自己的得意作品，并公之于眾。與那一點點自閉的隱私相比，我想我會有更多的收獲，因為只有自己最清楚拍攝時的心態。寫這篇文章的起因是一幅照片。在朋友的評語中有這樣一句話：司空見慣的場景。借著這句評語，我也發表一些自己的觀點。圖一就是引發議題的照片，讓我們來看看它的拍攝過程，然后再分析分析。
照片中的這條路位于我家東側，步行兩分鐘就可以走到，目前還沒有通車，所以很安靜。清晨5點多，我在這條街上轉悠。太陽剛剛探出腦袋張望這個世界，在清冷的路面上灑下一絲溫暖，變化莫測的云是承載在天空上的杰作。我蹓跶者、抬頭看著路燈的形狀、漫不經心地數著路燈的數量、欣賞著光線的變化。然后就拍了這張照片。
飄忽不定的事物和帶有宗教象征的事物，是表現神秘主題最為常用的被攝體。圖二拍攝于王府井天主教堂——一個無數攝影者去過的地方。在這幅作品中，十字架明顯的象征意義和樹枝營造的些許緊張，使畫面產生了一種張力，也使畫面產生了內容。
攝影構圖的角度選擇攝影構圖的拍攝高度
前面幾課講了通過拍攝主體的不同側面來表現不同的主題，這一課讓我們一起來看看不同的拍攝高度對畫面的影響。相機與被攝體處于同一水平線上稱為平攝，那么顧名思義，相機高于被攝主體即為俯攝，仰攝自然就是相機低于被攝體了。 平攝 相機與被攝者處于同一水平線上，這種拍攝角度是我們最為常見的，畫面效果與人們的視覺習慣基本一樣。無論是拍攝建筑、人像、風光還是廣告，這種都顯得比較穩定平和，并且可以利用前景和背景來改變畫面的效果。 
當然從后斜側面拍攝也未嘗不可。不僅可以看到被攝主體的側面特征，也能展現其后部的情況。下面這張照片就是從側后方拍攝的，貝士手的演出和臺下狂熱觀眾交相呼應，烘托出熱烈奔放的氣氛。
攝影構圖的畫面設計 攝影構圖的畫面設計，最重要的一點就是構圖的均衡美。在日常生活中，每一個人可能都有過以下的體會：一把椅子傾斜了給人產生不穩定的感覺，擔心坐下去會摔跤。而大多莊重、尊嚴的東西又是很對稱的，比如古代宮殿門口的石獅子，給人以尊嚴和雄偉，它是成雙存在的，給人以對稱美的感覺。因此，攝影作品的畫面均衡，在構圖時十分重要。 1.對稱和均衡在畫面中的運用 對稱，象征一種高度整齊的程度。比如蝴蝶，它的形體和翅 翼花紋的對稱美，一直為人們所欣賞。在攝影作品中對稱的畫面 也常可見到，特別在中用的較多。但大多數攝影作品，在構圖中都不是追求一半對一半的對稱，而是刻意于畫面的視覺均衡。
因為在攝影的構圖中，絕對的對稱會給人一種靜止的，拘謹 的和單調的感覺，生活中人們的審美要求仍然以追求均衡為多。 過多的運用對稱會使人感到呆板，缺乏活力。而均衡是為了打破 較呆板的局面，它既有“均”的一面，又有靈活的一面。均衡的 范圍包括構圖中形象的對比，人與人，人與物，大與小，動與靜 明與暗，高與低，虛與實等的對比。結構的均衡是指畫面中各部 分的景物要有呼應，有對照，達到平衡和穩定。畫面結構的均衡， 除了大小、輕重以外，還包括明暗、線條、空間、影調……等均 衡的作用。
2.構圖中的主次關系
讓一切保持簡單
圖一是美國一位著名攝影師在幼兒園拍攝的一名4歲大的孩子，他正在跟著老師認識花園中的動物。這張照片簡直就是講解如何讓背景脫焦來提高構圖水平的完美例子:蝸牛在焦點內，但是由于鏡頭(70-200mm f2.8設定于180mm鏡頭)光圈全開，加上數碼單反造成鏡頭焦距存在1.6倍延伸倍率，實際焦距相當于35mm相機配套鏡頭288mm，景深變得極淺，因此孩子的臉變得模糊起來。由于當時陽光很好，所以在ISO200感光度下，相機最高快門速度達到了1/4000秒。
圖二是使用G1在美麗的英國牛津大學城拍攝的，當時使用了可旋轉的LCD以靠近地面來拍攝，不會因為要趴在地上拍攝弄臟自己。鏡頭用鵝卵石墊高了5厘米，以便通過超廣角來為照片增加一種戲劇性效果。以我這1.7米的個子，很可能像旅行者一樣匆匆而過，錯過這一視點，不能拍出這種與眾不同的照片———盡管對我這種古怪舉動的不解都在照片中的路人臉上表露無遺。 把觀看者的興趣點留在照片的邊框以內絕非是一件簡單的事情，我們不得不使用各種技術來把觀者的目光盡可能長時間地留在照片內。最簡單的辦法就是“制造”一個框架來“框”住目光。圖三拍攝的是一位在兒童游戲室內的女孩子，我的辦法是將木窗也拍在內———為觀看者游離的目光制造一個心理上的“框子”。由于上下、左右都有木框，這種構圖上的限制最大地滿足了我限制觀看者目光的要求。窗子、門、抽象的形狀、色塊和陰影都可以幫助你完成這個視覺“詭計”，不過需要注意的是，“框式構圖”無論少了哪個方向的“框”都可以，但絕不能少了底部的“框”，否則感覺上會令人不舒服。 攝影構圖 其實有很多其他基本規則值得銘記(所有攝影規則都可以被打破，否則就不會有創意存在)，比如避免被攝者被畫面邊緣切割或一部分人物肢體被畫面中的框架割裂等，不過，最重要的是防止照片的邊緣出現無關緊要的“零碎”或者照片一角有極為明亮的亮點。 學習攝影，最好的方法第一是去試，其次是犯錯誤，最后是向你犯的錯誤學習。數字攝影的普及使得我們有越來越多機會面對毫無先例可以借鑒的時刻，要敢于利用構圖的基本原理并加以變通，敢于通過實踐把它變成可資借鑒的先例。 留下給人思考的空間 通常，我喜歡使用比較緊湊的構圖，但這不等于有些被攝主體要“哭著喊著爭奪”空間。有時，前景或后景可以留下很大的空間，這樣更有助于強調主體。將很小的主體置于很大的空間中，能夠幫助你講述一個故事。如果你將一個人放在照片角落上，能夠暗示寂寞或者攻擊，反其道而行之則可以表現相反的意境。 圖四是一個在一座豪華古宅前的草坪上隨意站著的一個小女孩，正在享受她的自由。照片拍攝于一個較高的位置上(大約7.5米高處)，隔著一塊玻璃，背景是模糊的草坪，而將她置于照片右上角則暗示她有很大的空間。正常情況下，好照片的標題都沒有什么作用，但此時確是不可或缺的。 在照片中環繞孩子的空間充滿了整個畫面，構圖十分簡單，但效果十分具有沖擊力，使得照片有一種神秘感。當然，如果孩子的母親在空曠的左下角就會使這張照片表達的信息完全相反，但仍然會有很多值得思考的東西，但可能內容完全不同。 簡單的照片往往是最有沖擊力的，這張照片也證明:簡單并不意味著吝嗇。 有一雙能夠鑒別細節的慧眼 每個人拍攝同一個場景都會有自己獨特的選擇，即使很多第一流的攝影記者一同去拍攝同一新聞發布會，攝影記者個體的差異都會使得各個媒體刊發出迥異的照片來，這其實也是攝影之美。 圖五表現了大象眼睛的照片就是一個典型的例子。當時是為了拍攝一組廣告，有另外5名攝影師也在爭奪這個項目。廣告的核心是一只年幼的亞洲象，創意是舉辦一場面向在校學生的環境藝術比賽并在比賽期間拍攝，攝影師費盡氣力拍攝了一組包括這只大象、三名小學生和一些油畫顏料、畫架的照片，構圖看起來就像有好多大象一樣，顯得十分凌亂。為了把一切都拍攝下來，攝影師使用了17-35mm鏡頭，只不過比另外5個人拍得都快。隨后將第二臺相機換上了70-200mm鏡頭，把變焦推到頭，然后按下快門。于是，一張強悍的、富有趣味的、與眾不同的照片誕生了，廣告主在照片上打上了大字標題并廣為散發，很多雜志的封底都印有這張廣告。而拍攝的其他大象軀體上刷有廣告色的照片盡管也很有趣，但都沒有入選。 當這張照片最終被報紙排版之后，受到啟發的編輯認為它更能吸引讀者的興趣點，于是也就不再堅持照片一定要把整個故事都拍攝下來的要求。后來，這張照片曾用于很多場合，比如家庭相冊封面、明信片等。 構圖進階指南Have you ever wondered why some pictures are more appealing than others . . .
After you've learned the guidelines, you'll realize that well-composed pictures often take careful planning and sometimes patient waiting. Think of these not as rules but as simple guidelines
Let's see how we can improve this photo by looking for visual simplicity. First let's decide if we want our center of interest to be the public telephone, the bridge, or the cactus. We chose the cactus as the main subject. And by moving in closer and using the plain sky as the background, we have simplified and improved the appearance of this photograph. We're certainly close enough to our subject in both pictures, but the busy background on the left camouflages the seagull. Just change your point of view slightly and, presto, your seagull stands with visual prominence against the blue sky. Compose your photograph so that your reason for taking the picture is clearly seen. Arrange other parts of the picture area in such a way as to complement what you choose to be the center of interest. Most of us would prefer the picture on the right because the parking lot tends to contradict the feeling of antiquity related to this mission. Remember: we're talking about composition simplicity, and here's another decision you'll probably have to make. How much of your subject should you include, and should it be framed horizontally as we have done here? Or perhaps you'd prefer to frame your subject in the vertical format, as we've indicated with these frame lines. The choice is yours. So, you can simplify your pictures and strengthen your center of interest by selecting uncomplicated backgrounds, avoiding unrelated subjects, and moving in close. If you want to make your center of interest even more dynamic, place it slightly off center in your frame as we have done with this young artist. Generally, pictures with subjects directly in the center tend to be more static and less interesting than pictures with off-center subject placement. Before you snap the picture, imagine your picture area divided into thirds both horizontally and vertically. The intersections of these imaginary lines suggest four options for placing the center of interest for good composition. The option you select depends upon the subject and how you would like that subject to be presented. We picked the upper-right position for this subject so that we could see the full shadow and most of the tracks that lead to the seagull. The lighthouse seems well placed in the upper right just because the rest of the scene fits nicely into the format. Here's a case where you have excellent subject control. You can have the model pose anywhere along the walkway. The rule of thirds indicates this placement which also gives the model a definite path to follow within the picture area. You should always consider the path of moving subjects and, generally, leave space in front of them into which they can move. If you don't, here's what can happen! This jogger looks like she's going to run right out of the picture. By placing the subject in the lower-left position, we've used the rule of thirds and given the jogger plenty of room to run within the picture. Here's another action shot where it's important to leave more space in front of a moving subject than behind it. You can also apply the rule of thirds guidelines to the placement of the horizon in your photos. Here the center position of the boat and horizon results in a static feeling. Let's move the horizon to the upper third and the sailboat to the left. Remember, these are the only guidelines. So if you don't like this subject placement, try another. Like this. We've moved the horizon line to the lower third. In general, place the horizon high or low in your scenics, but rarely in the middle. Just as it's usually best to place horizons off center, it's also best to place verticals off center. For instance, in the picture on the left, the subject is centered, but on the right, the photographer got a more effective photograph by simply changing the viewpoint. Now we can look up and see the lines against a clear blue sky. The picture on the right is much more dynamic because of the strong diagonal lines.
現在我們可以向上看，線條背襯著干凈的藍天。右圖因為強有力的斜線顯得更富于動感。
Imagine this view without the diagonal rays of sunlight and you'll probably agree: diagonal lines are dynamic! You can use diagonals as leading lines to provide a way into the picture. It's a simple and easy path for the eye to follow to the main subject. You can also use repetitive lines to draw viewers' attention to your center of interest. One of the most common and graceful lines used in composition is called the S curve. Here's another S curve that forms a diagonal leading line. This picture is also improved with a well-placed center of interest, and the result is a photograph that's easy to look at. Here's what we're looking for. The flamingo has relaxed, and his neck now forms a pleasing S curve against a better background. So, the S curve is an attractive shape to look for when you compose a photograph. You can use other simple geometric shapes to help your picture composition. Can you see the triangle you get by connecting imaginary lines between the three nuns? This triangle adds strong visual unity to this picture. Notice how many triangles are formed by this couple and their reflections. You can help yourself develop an artistic eye by studying pictures to find the strength of their lines, geometric shapes, and balance. Achieving good balance is another one of our guidelines for better picture composition. Notice how the leaves, the window, and the couple all seem to be in the right place. The camera viewpoint and subject placement were all carefully selected to create this well-balanced photograph. Good balance is simply the arrangement of shapes, colors, or areas of light and dark that complement one another so that the photograph looks well-balanced, not . . . . . . lopsided like this. Karen looks like she's going to fall right out of the picture due to lack of visible support. Now we've moved our camera viewpoint and have included the much-needed wheel to support our subject. Karen is still off center, but the picture is balanced. Imagine that these two couples are standing at either end of a pair of scales. They are evenly balanced, so this is a classic example of symmetrical balance Here's an example of nonsymmetrical balance. The large single head balances the smaller child on the right. In general this type of balance is more interesting to look at than symmetrical balance. For example, this is a balanced photograph, but the subjects can be separated into two vertical pictures-which tends to divide the viewer's attention. There are usually several ways to arrange or balance your subjects. You may choose the style on the left because you'd like to convey a feeling of formality-or you may prefer the more relaxed informal pose. They're both well balanced. No, this is not what we mean by framing, although the principle is the same. What we mean is to frame the center of interest with objects in the foreground. This can give a picture the feeling of depth it needs to make it more than just another snapshot. Whether or not you use a frame for a picture will depend on each new subject. What you choose as a frame for the scene will, of course, vary as well. The Washington Monument on the left is composed in the center without a frame. The picture on the right has a stronger feeling of depth and tells a more complete story because the photographer chose an appropriate foreground to complement the Washington Monument. The horses and their riders add considerable foreground interest to this scene. The overhanging tree branches complete the frame and add depth to the subject. When you use people for scale and foreground, make sure they look into the picture area. Both of these interpretations of the Iwo Jima Monument effectively use framing for added dimension and interest. No matter what subjects you choose to photograph, you should avoid mergers. You can be sure the camera always sees mergers, so look for plain backgrounds before you pose your subject. In this case the correction was simple because the two settings were only a few feet apart.
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