Today I have a heavy content and I have spent several years groping and summing it up. During this period, I have collected thousands of photos and often observed it repeatedly to come up with a rule. Therefore, I must write a long article to explain in detail, and the theme, It's about the composition of the shot of the portrait.
今天講一個重磅內容，也是自己花了幾年時間摸索總結出來的，這期間收藏了幾千張照片，經常反複觀摩，得出一個規律，所以必須寫一篇長文章詳細闡述，而主題，就是關于人像拍攝的景別構圖。
I also wrote an article about composition that I didn't elaborate before. I'll talk from point to line, and I won't go into the details of the composition of one-third of the words, diagonal lines, and so on. Instead, it analyzes each composition in detail from the most basic perspective.
之前也寫過一篇不詳盡的關于構圖的文章，從點線面去聊，今天也不會去細說網上一大堆教程中說道的三分之一井字對角線等等構圖方式，而是詳細的從最基本的景別去分析每一種構圖方式。
In fact, if you have ever studied film or painting, you will have contact, especially with the mirror. In fact, these are all connected. Where and how, there are laws, and even some kind of distorted expression. The anti-regular composition of emotions evolved also has its own aesthetic sensibility. It is not the appearance of randomness, but the result of meticulous composition. It is already integrated into the subconscious of the photographer.
其實關于景別，如果你學過電影或者繪畫，都會有所接觸，特別是分鏡，其實這些都是相通的，裁哪裏，怎麽裁，其實都是有規律，甚至爲了特意表達的某種扭曲情緒而演變的一些反規律的構圖，也是有其自身的美感講究，並不是表面顯得的隨意，而是經過精心構圖得到的結果，那種已經是融入到攝影師的潛意識裏了的。
I found that many of the photographers who implemented the Internet did not focus on these topics. Then they jumped directly to the students to explain what diagonal lines were used to compose the triangles. Specifically, we don’t say who it is. Even some of them don’t even say it. They simply misunderstand the children. Ah, the composition should start with the most basic scene. This is why many people only know the composition methods, but the basic The character is still not the right place to cut, portrait composition is based on the scene!
我發現其實現在很多開班的網紅攝影師並沒著重講過這些，然後就直接跳到跟學員講什麽對角線構圖三角構圖井字構圖畫各種有一撇沒一撇的輔助線說明，具體就不說是誰了，甚至有的連這些都不說，簡直誤人子弟啊，構圖就應該先從最基礎的景別說起，這就是爲什麽很多人只知道那些構圖方式，但是基本的人物還是經常裁的不對地方，人像構圖根基在于景別！
Well, first of all, let's talk about the classification of scenes, which are roughly divided into the following categories:
好了，首先說說景別的分類，大致分爲以下幾種：
Then, we elaborate on the different ways of performing techniques and techniques for each scene.
接著，我們細說每一種景別的不同表現手法與技巧。
Vision
遠景
The vision is generally used to account for the relationship between the environment and the characters, to express certain atmospheres and emotions through the environment, and to allow people to integrate into the environment. It is not like some tutorials have written and the subject has to be highlighted. Then the background is given by various telephoto large apertures. It is a misunderstanding to blur the main body with a mess, and of course, it is necessary to do some subtraction to reduce some unnecessary content.
遠景一般用來交代環境與人物的關系，通過環境來表達某種氛圍與情緒，讓人物融入環境，並不像某些教程寫的，非得突出主體，然後用各種長焦大光圈把背景給虛化的一塌糊塗來突出主體，這是一個誤區之一，當然也得做一些減法來削減一些不必要的內容。
In general, this kind of scene can put people on any one of the screens to achieve the balance of the picture, and more of them are centers. The relationship between the characters and the environment can be controlled through blank space. It can be any machine that is down. High seats and more.
一般來說，這種景別下可以把人物放在畫面的任何一個能達到畫面平衡的位置，比較多的是中心，通過留白來控制人物與環境的關系，可以是任何倒機位低機位高機位等等。
panoramic
全景
The panorama can be said to be one of the largest scenes in a group of photo shoots. There can be innumerable kinds of expressions, both to bring some of the environment, but also to better reflect the main character.
全景可以說是一組寫真中占比最大的景別之一了，可以有無數種表現方式，既能帶上一些環境，也能更好的體現人物主體。
The composition of the panorama is generally based on the overall image of the character to leave some space up and down, but also need to control the space to stay just right, the newcomer will generally make the picture out of balance because of too much over the top, but not to say that you can not stay above Too much white, this should be determined according to the line of the environment. It is a test of the photographer's experience. In simple terms, it is the balance of control. There are also photographers who compose a direct full-body composition and leave only a little white on the top and bottom. It is also possible, for example:
全景的構圖，一般是在人物全身照的基礎上上下各留一些空間，而且需要控制空間要留的恰到好處，新手一般會因爲上方留白太多而使畫面失衡，但是也不是說上方就不能留太多的白，這個要根據環境的線跟面來定，很考驗攝影師的經驗，簡單來說還是控制平衡，也有的攝影師構圖方式是直接全身滿構圖，上下都只留一點點白，也是可以的，例如下圖：
In general, this kind of scene is in the horizontal view, where the environment is larger than the figure, and it can be seen as a slim model. You can use a variety of perspectives to view, you can use the diagonal composition to express the dynamic, express a happy and casual, or a strange mood.
一般這種景別在橫構圖下，環境比例會比人物大，可以顯得模特纖瘦。你可以運用各種角度來取景，可以倒機位對角線構圖來表現動態，表達一種歡快隨意，或者是一種怪態情緒。
Medium shot + close shot
中景+近景
Why these two things should be discussed together, because these two kinds of scenes are the type of scenes that are used more often in a group of photos.
爲什麽這兩個要合在一起講，因爲這兩種景別是一組寫真中運用較多的景別類型。
In the middle view, the general person cuts the knees up and down, and then goes up to the thighs. Generally, this kind of scene uses the most central composition, which is the position of the person's head on the center axis or the center axis of the screen. Of course, you can also leave the white partial composition on top.
中景來說，一般人物下方裁到膝蓋上下位置，再往上可以到大腿根，一般這類景別用中心構圖的最多，也就是人物頭部在畫面中軸線或者中軸線偏上的位置，當然也可以上方之間不留白偏滿的構圖。
Close shot, generally cut below the waist or chest points, the top will generally stay a little white or directly cut to the top of the head without space, even to the forehead can be up and down, novice for most of these scenes will appear on the issue is to stay above There are too many whites and too many cuts below. This leads to unbalanced pictures and the lines of the characters are not good at sight. It is neither like the medium-sized category of the central composition nor the close-range, the dissimilar, or the uncomfortable. Of course there are similar to European ones. Some movie shooting styles use this discomfort to make the audience feel suffocated and express certain emotions. There are also some, so the composition is actually looking at the demand.
近景，一般下方裁到腰部或者胸部偏上一點，上方一般會留一點白或者直接裁到頭頂不留空間，甚至到額頭上下都可以，新手對于這類景別大多會出現的問題就在于上方留白太多，而下面又裁的太多，導致的畫面失衡，人物線條不好看之類的，既不像中心構圖的中景類又不像近景，四不像，很不舒服，當然有類似歐洲的一些電影拍攝風格，就是利用這種不舒服來讓觀衆感覺窒息，用來表達特定情緒，也是有的，所以說構圖其實看需求。
These two scenes are used to make facial expressions for micro-close-ups, mainly highlighting emotions, makeup, etc. They are also a type of typical magazine cover composition. Of course, the value of Yan is very important, which is not to refute Now.
這兩種景別是用來做人物表情微特寫用的，主要突出人物情緒，妝面造型等等，也是典型雜志封面構圖的一種類型，當然了，顔值是很重要，這就不反駁了。
Some personal suggestions, 35mm lens shot mid shot will be better, of course, 50mm lens is no problem, close shot, then generally have to use 50mm and 50mm or more lenses better, of course, 35mm lens head can also be through high angle Makes the contrast between the head and the body show a lively and lovely feeling.
個人的一些小建議，35mm的鏡頭拍中景會比較好，當然50mm鏡頭也沒問題，近景的話一般就得用到50mm及50mm以上的鏡頭比較好了，當然35mm鏡頭頭也可以通過高角度來使得頭大身小的反差表現一種活潑可愛的感覺。
In fact, the close shot can also be said to be a close-up, a close-up of the person's face as a whole.
其實近景也可以說是一種特寫了，人物臉部整體表情的特寫。
close up
特寫
The close-up view mentioned above is a close-up of the whole face of the person's face. The close-up is slightly more than the close-up view. Basically, the shoulders are not completely exposed, and the close-up focuses on a certain part, eyes, mouth and so on.
上面說的近景是人物臉部整體表情的特寫，特寫比近景還要稍微再裁一些，基本上肩膀都不會全露了，而大特寫就著重在某個局部，眼睛，嘴等等。
The above is the vertical composition class, and the horizontal composition can use similar movie ratios, as follows:
以上是豎構圖類的，橫構圖的可以用類似電影比例等，如下：
This kind of close-up view of the scene is generally the upper structure to the hairline, or the upper eyebrows, the lower part of the chest to the top, or directly to the lower chin. The close-up, generally do not have macro shots can not be pre-camera out, have to post-secondary plan, cut out part, not much to say here.
這類特寫的景別裁法，一般是上方構到發際線上下，或者眉毛偏上，下方構到胸部偏上，或者直接到下巴偏下。而大特寫的話，一般不用微距鏡頭是無法再前期拍攝出來的，都得後期二次裁圖，裁出局部，這裏就不多說了。
This kind of composition can basically be said to be a kind of open composition, that is a very full type of composition, it is a test of a photographer's previous composition experience, because this scene is best controlled in the early shooting When you can achieve perfection, you need to do it without deviation. It is very difficult. Novices can exercise properly. Many newcomers are afraid of being too close to the model. I hope everyone can be bold and not too conservative. Even models with poor skin It can also be tried because it can be repaired with microdermabrasion in the later period. If you try it out, there will be unexpected results.
這類構圖基本上可以說是開放式構圖中的一類了，也就是一種很滿的構圖類型，很考驗一個攝影師的前期構圖經驗，因爲這種景別最好是控制在前期拍攝的時候就已經能達到完美，需要做到一點都不偏差，很難，新手可以適當的鍛煉，很多新手很怕離模特太近，希望大家都能大膽一點，不要太保守，就算是模特皮膚不好，也是可以嘗試的，因爲後期可以磨皮來修複，只要你趕嘗試，就會有意想不到的成果。
Well, here we have basically introduced the features and techniques of various scenes. We must introduce the open composition mentioned above. There are two types of composition, one is open composition and the other is closed composition.
好了，說到這裏，基本就已經介紹完了各種景別的特點跟技巧，下面不得不引入上面說到的開放式構圖。構圖還分兩種，一種是開放式構圖，一種是封閉式構圖。
In general, the panorama of panoramic perspectives is a closed composition. The simple point is that closed composition is the most common and common composition method.
一般來說，全景遠景全景都屬于封閉式構圖，說的簡單點，封閉式構圖就是把人物框在裏面，是一種最爲普通常見的構圖方式，這裏就不著重說。
Open composition
開放式構圖
Here we must focus on open composition. The features mentioned above are basically open composition types. There are also many open compositions used in the middle and close shots. The simpler ones are, and the open composition is all sorts of cuts. All kinds of paintings outside the picture, break through the limitations of the frame, the following gives you some examples of the close-up scene.
下面我們要著重說的是開放式構圖，上面說過的特寫，基本都是開放式構圖類型，中景跟近景也有很多開放式構圖的運用，說的簡單一些，開放式構圖就是各種裁，各種畫外畫，突破畫幅局限，下面給大家舉一些中近景的例圖。
Basically, the most common explosion models are seated, lying, and dynamic. Some photographers use this composition method to create a lot of composition that is very tensionful. This is not introduced here. The use of these are some of my previous works.
基本上最常見的爆款了一些坐姿，躺姿，動態類的，有些攝影師運用這種構圖法，創造了很多很有張力的構圖，這裏就不一一介紹了，下面再放一些橫構圖的運用，都是本人以前的一些老作品。
In the end, a bunch of examples are used as a summary of the article. I hope that everyone can read more and collect more, so that the routines of these scenes are all deeply rooted in the subconscious and free to play.
最後以一堆樣例來作爲文章總結，希望大家能多看多收集，讓這些景別的套路都根深到潛意識中，再加以自由發揮。
If you like my works and opinions welcome message and attention, thank you.
如果你也喜歡我的作品和觀點歡迎留言和關注，謝謝。