雖然你無法透視TA的心,但是你至少可以……

今天小編是飽含著熱淚來寫整理這篇教程的……

前幾天去電影院看完《你的名字。》之後備受鼓（暴）舞（擊）的小編，終於鼓起勇氣向暗戀已久的女神表白……

然後就沒有然後了，小編的到現在都沒整明白髮生了什麼……

捉摸女（男）神的心還真是技術性非常強的工作，不過作為一枚建築汪，雖然無法透視她（他？它？）的心，但是至少通過掌握技巧搞定一張構圖完美的透視圖（餵太牽強了吧），於是小編今天給大家帶來了這篇A神的教程《Composing Your Perspectives》，所以童鞋們也一定要像小編學習，不哭不哭，站起來（嗶-）

(正篇開始）

Composing Your Perspectives / AlexHogrefe大神系列教程解讀 – 透視構圖

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

關於效果圖如何構圖的問題是A神最經常被問到的問題之一，所以在這篇文章中A神將分享一些構圖時常考慮的要點，並不一定是構圖的鐵律，但可以作為構圖時的參考。

1. Rule of Thirds/三段式構圖

The rule of thirds is one ofthe more well know photography rules and is one that I use most often. Dividethe page into three sections both horizontally and vertically creating ninesquares. From there, compose the image so that important moments or focalpoints fall along the lines or at their intersections.

最常見也是最常用的構圖方式，將畫面橫豎三等分，畫面中的各種要素（如地平線、焦點或者視覺重心）和等分線找關係。

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

如上圖，在人視點的效果圖中，地平線的位置在靠下的水平等分線上。

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

同樣，在鳥瞰圖中，地平線在靠上的水平等分線處。

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

三段式構圖也適用於室內場景。畫面中透視的滅點位於右下角的橫豎等分線交點處，左上角的等分線交點處也是鋼結構的梁柱的交點。這樣的構圖原則非常經典，有點類似黃金分割原則在審美中的作用，圖面會更加耐看。

2. Switch to One PointPerspective/一點透視

In other words, set thecamera perpendicular to the structure essentially generating a perspectiveelevation rendering. Though this type of image sometimes comes off as a littlestatic, it can be a good compliment when paired with more aggressivelycomposed images in a series of illustrations. I often implement one pointperspectives when I want a place to feel a little more subduedor monumental.

相比於其他構圖，一點透視會削弱畫面的動勢和張立，有一種畫面靜止的效果。經常表達具有紀念性的場景或者一種安靜的狀態。在一組渲染圖中，適當地使用一點透視構圖能很好的與其他特別搶眼的效果圖形成對比或互補。

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

在上圖的表達中，一點透視所產生的很多垂直和水平的線條與畫面中的斜線產生對比，突出了要表達的斜線元素。

3. Centering/中心構圖

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

A神大意是中心構圖比較難做好，但是一旦做好了就會很出效果。中心構圖中要表達的主體位於畫面的正中心，畫面中的其他元素會處於絕對的從屬地位。

Above, the image is notperfectly symmetrical, but still has a balance to it. The surroundingcontext is lower, but equal in height, drawing the eye to the center of theimage..

如上圖，主要想說明中心構圖的畫面不一定是絕對對稱的，但是視覺的中心要在圖面正中。

4. Nature Dominate/由環境主導的構圖

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

有時候一張圖要表達的主體並不一定是建築，而是建築所在的周邊環境。這種情況下，一般會把地平線壓低，留出更多的圖幅給天空，或者將地平線提高，更多的表達地面的景觀。

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

環境在此時此刻不再是建築陪襯或者背景，而是主導整個圖面內容的重要信息。

5. Get Intimate/直擊重點

All too often, images try tocover too many objectives by telling multiple stories about thedesign. This leads to weaker images because the focus is on checking boxesinstead of choosing a view that compositionally is better or that betterconnects emotionally. Instead of pulling the camera out further and further toget in as much information as possible, move in closer and focus in on a singleidea.

通常情況下效果圖會儘可能多的表達設計內容，然而過多的內容會弱化畫面所傳達的信息。所以，適當減少畫面中的元素，將注意力集中在單一的內容會更加出彩。可以將這種構圖方式理解為攝影中的特寫，只專注景物中的某一個細節，忽略其他。

For the cliff retreat image, Icould 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 whichwas how the cantilevered viewing platform projected out from thecliff and the contemplative space that this created.

如上圖，A神為了表達這個出挑的平臺所塑造的空間時，放棄了其所在立面的其他元素，使整個畫面的內容一目了然。

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

這張圖雖然有很多元素，但是依舊可以看出A神捨棄了建築主體的形象，整個畫面的焦點在街道和入口大臺階的聯繫上。

6. Correcting the verticals/矯正垂直關係（實際就是上建築表達中常用的兩點透視）

Most, if not all, architecturalphotographers follow this convention because it is considered a more accuraterepresentation of the architecture. It is simple to execute and addsanother level of refinement to the composition. The adjustment is usually madein eye level and low bird’s eye views. Also, images with really tall buildingslike skyscrapers will typically have the verticals corrected.

A神的大致意思是垂直矯正在攝影中能更加準確的表達建築，非常有效且常用。

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

建築垂直於地面的邊會在透視原理的作用下向天空的方向匯聚，在二維畫面中與畫面的垂直方向形成一定的角度，矯正之後這些垂直線會與畫面的垂直方向一致。

he above image shows thevertical lines corrected. There are multiple ways to do this. I typically setmy 3D model software (Sketchup) to 「Two Point Perspective」 before renderingwhich solves this problem. However, if the image is already rendered andedited, you can make the correction in Photoshop. I created a tutorial a longtime ago describing this process.

實際上在表達建築效果圖的時候，垂直線矯正後會顯得建築更加挺拔，更有張力。一般可以在渲染的時候就選擇兩點透視或者在PS中通過透視調整命令來修正建築的垂直線。

7. Don’t be a Giant/避免巨人視角

If you are going to create andeye level view, set the camera height to around 6′ to better connect the viewerto the experience of being at that space. People often rationalize thatthey want to better see the ground plane so they raise the camera to justabove head height at 8′, 10′, 12′, etc. However, this makes for an awkward anduncomfortable composition. This rule does break down a bit if you are dealingwith extreme sloping sites or standing on a terrace or balcony.

在人視點的構圖中，相機的視點高度應設置在一個正常人眼睛的高度。但是有時候當我們希望看到更多的地面時，會將視點提高，但是這樣會產生一個很不舒服或者說很不習慣的構圖關係，感覺畫面是來自進擊的巨人的視野。當然，如果視點所在的位置是一個大斜坡或者陽臺上，那麼較高的視點也是可以接受的。

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

在上圖中，視點的高度已經超過正常人眼睛的高度，並且不是在陽臺或者斜坡地形上的，所以應該將視點高度降低或者將視點抬高形成鳥瞰的構圖。

Here, the camera is set at 6′ and gives abetter sense of being in the space among the people.

將視點高度修正後，感覺就舒服了很多如同站在人群中看這個場景，顯得畫面比較自然。

When composing animage, there are so many variables to take into account that it can besomewhat overwhelming. Ideas on composition like the ones above help simplifythe thought process and speed up the initial camera setup. There are still manyother ideas on composition that I left out which I may revisit laterin a part 2 of this post.

在實際的構圖中還有很多要考慮的因素，上面提到的7個點可以幫助大家快速的理清楚想要表達的內容並確定效果圖的視角。當然，每個人在構圖時都有自己側重的點，並不一定要按照某些準則來限制自己的思維，不過在初期，還不能完全掌握構圖方法的時候，一些原則性的指導還是有必要的，小編相信大家在不斷的嘗試之後，都能掌握並摸索出一套自己得心應手的構圖方法。

整片教程就介紹分析到這裡，當然下面附上A神教程的原文地址，對此類教程感興趣的同學可以持續關注INNER的公眾號，我們會定期更新，也可以直接關注A神的網站。小編心累得不要不要的，得好好歇一歇了，咱們下次再見！

本文譯自visualizingarchitecture.com

原文地址：https://visualizingarchitecture.com/composing-your-perspectives/

微信號：Inner_Design_

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