建筑攝影是一種特別的活計(jì)，它既需要攝影眼也需要特別的知識(shí)儲(chǔ)備。建筑設(shè)計(jì)師花費(fèi)數(shù)年時(shí)間將設(shè)計(jì)轉(zhuǎn)換成物理形態(tài)，攝影師必須幫助建筑設(shè)計(jì)師講述建筑的故事。

Photographing architecture is a specialty business, one that requires a trained eye and a unique knowledge base. Architects spend years bringing design to physical form, and the architectural photographer must help tell that story.

當(dāng)然，挑戰(zhàn)在于創(chuàng)造性地使用光和透視來表現(xiàn)空間或結(jié)構(gòu)的特征和個(gè)性。在這個(gè)過程中高端設(shè)備不是必須的，但是入門確實(shí)需要對(duì)基礎(chǔ)知識(shí)有基本的了解。下面收集了一些專業(yè)人員每天工作的一些考慮因素。

The challenge, of course, is to creatively use light and perspective to represent the character and personality of a space or structure. High-end equipment isn’t a must, but getting started does require a basic understanding of the fundamentals. Collected here are some of the on-the-job considerations that the pros work with everyday.

1.全都在于透視It’s All About Perspective

建筑有各種形狀和大小，但他們都與線條有關(guān)。拍攝精彩的照片就在于如何組織這些線條，并使用透視來吸引注意力并使建筑變得生動(dòng)。

Architecture comes in all the shapes and sizes, but it’s really about the lines. Taking great photos is about working with those lines, and using perspective to draw attention to detail and bring your subject to life.

雖然不是絕對(duì)的規(guī)則，但一般規(guī)則是保持垂線垂直于地平線。相機(jī)鏡頭會(huì)使透視扭曲。當(dāng)你在建筑前面構(gòu)圖和拍攝的時(shí)候，垂直線會(huì)傾向于向內(nèi)傾斜，匯聚于框架外的一點(diǎn)。透視線的匯聚可以用于強(qiáng)調(diào)和戲劇效果，但是為了創(chuàng)建精確的展現(xiàn)，干凈的幾何效果和直接的鏡頭是優(yōu)先選擇的。

While not absolute, the general rule is to keep vertical lines vertical, and perpendicular to the horizon. Camera lenses distort perspective. When you point and shoot in front of a building, the vertical lines tend to slant inwards, converging at a point beyond the frame. Converging lines can be used for emphasis and dramatic effect, but to create an accurate representation a clean geometric, or straightforward, shot is preferred.

2. 向后走兩步Take A Few Steps Back

攝影師花很多時(shí)間四處尋找完美的相機(jī)位置。

Photographers spend a lot of time walking around in search of the perfect camera position.

大多數(shù)人會(huì)避免直接的、目光級(jí)別的鏡頭，這種角度會(huì)使圖像變得扁平、無聊。另一方面當(dāng)鏡頭角度太低、太高、太左、太右的時(shí)候照片又會(huì)變得奇怪。講述空間的故事需要在創(chuàng)造性和實(shí)際的決定之間取得平衡。Most will avoid straight-on, eye-level shots. This angle tends to flatten images and produces boring uninteresting shots. On the other hand, things get weird and unpleasant when working angles that are too low or too high, or pointing too far right or left. Telling the story of space is always a balance between creative and practical decision-making.

在你自己和你的主題之間留出更多的距離可以增加視角來理順那些融合的線條。 從更高的有利位置拍攝附近的建筑物，也有助于建立更逼真的主體高度視角。

Putting more distance between yourself and your subject adds perspective to straighten those converging lines. Shooting from a higher vantage point, such as a nearby building, also helps build a more realistic perspective of the subject’s elevation.

3. 穩(wěn)定和水平Steady and Level

一個(gè)合適的三腳架可以使照相機(jī)與地平線平行，焦平面垂直于垂直線，這有助于控制透視。 三腳架可以穩(wěn)定相機(jī)并減少噪點(diǎn)和模糊，這對(duì)提供清晰圖像是必不可少的。

A proper tripod allows you to level the camera parallel to the horizon and with the focal plane perpendicular to vertical lines, which helps to control perspective. A tripod is also essential for stabilizing the camera to reduce noise or blurriness and give sharp images.

4.長而寬

對(duì)于建筑照片，目標(biāo)是盡可能多地將背景細(xì)節(jié)放入框架中。這意味著使用可提供大景深和廣焦距的廣角鏡頭。攝影師通常依賴移軸鏡頭，可以在鏡頭內(nèi)控制透視和會(huì)聚線。這些鏡頭價(jià)格非常昂貴，除非你是一名職業(yè)建筑攝影師，否則絕對(duì)沒有必要。一個(gè)覆蓋16mm至70mm范圍內(nèi)的標(biāo)準(zhǔn)變焦鏡頭可滿足大多數(shù)需求和預(yù)算。

For architectural photos, the goal is to fit as much background detail into the frame as possible. This means using wide-angle lenses that give a large depth of field and a long focal length. Photographers commonly rely on tilt-shift lenses that can control perspective and converging lines right within the lens. These lenses are expensive and absolutely not necessary unless you’re a working pro. A standard zoom lens that covers anywhere in the range of 16mm to 70mm will satisfy most needs and budgets.

5.完美的光線

光是建筑攝影師必須理解和控制的一個(gè)挑戰(zhàn)。大多數(shù)建筑攝影師都喜歡盡可能用自然光拍攝。幸好自然光很容易獲得，它有助于展示結(jié)構(gòu)在其環(huán)境中的真實(shí)存在感。使用自然光的關(guān)鍵是確定拍攝日期的正確時(shí)間。Light is a challenge that must be understood and controlled. Most architectural photographers prefer to shoot with as much natural light as possible. Thankfully, natural light is readily available, and it helps show how structures truly exist within their environments. The key to working with natural light is determining the right time of day to shoot at.

正面光和背光是最不想要的光線，因?yàn)檫@些光的角度減少了細(xì)節(jié)并使對(duì)象看起來平坦。側(cè)前光是理想的選擇。在建筑物上有斜上45度角的光線時(shí)拍攝可以使表面細(xì)節(jié)生動(dòng)，投射陰影并給出規(guī)模感。

Front lighting and backlighting are least preferred because these angles reduce detail and make subjects look flat. Side-front lighting is ideal. Capturing light at a 45-degree angle across the elevation of the building brings surface details alive, casting shadows and giving a sense of dimension.

高動(dòng)態(tài)范圍（HDR）被專業(yè)建筑攝影師廣泛使用。攝影師可以對(duì)相同的固定位置進(jìn)行多次不同的曝光，然后使用編輯軟件將它們一起渲染，從而在一個(gè)圖像中實(shí)現(xiàn)更大范圍的動(dòng)態(tài)范圍。

High dynamic range (HDR) is widely used by professional architectural photographers. Photographers can take several different exposures of the same fixed setup, and then render them together with editing software, making for a far greater range of light levels within one image.

專業(yè)人士可以敏銳地意識(shí)到天氣以及它將如何影響光線。明亮的陽光燦爛的日子產(chǎn)生對(duì)比強(qiáng)烈的光線，而陰天則產(chǎn)生更柔和的邊緣。太陽總是在移動(dòng)的，根據(jù)一天中的不同時(shí)間和一年中的某一天，它可能對(duì)圖像產(chǎn)生截然不同的影響。像Sun Seeker這樣的應(yīng)用程序可用于確定太陽與拍攝主體的相對(duì)方向。

Professionals are keenly aware of the weather and how it will affect lighting. Bright sunny days makes for hard contrasting light, while overcast clouds create softer edges. The sun is always on the move and depending on the time of day, and day of year, it can have drastically different effects on an image. Apps like Sun Seeker are useful for figuring out the sun’s position in relation to your subject.

日落前或日出前的1小時(shí)是拍攝的黃金時(shí)段。一小時(shí)的金色陽光和長長的陰影可以為主體增添溫暖，深度和質(zhì)感。根據(jù)可用的光源和頭頂天空，夜間可也以是拍攝的絕佳時(shí)間，但它確實(shí)需要一些特別的鏡頭和實(shí)驗(yàn)。舞臺(tái)燈光也是一種選擇，但也需要另一層技術(shù)知識(shí)，并了解燈光如何影響鏡頭的顏色和溫度。

The hour right before sunset or before sunrise is the “golden hour” — a prime time to shoot. This is an hour of golden sunlight and long shadows that add warmth, depth, and texture to a subject. Nighttime can be a fantastic time to shoot depending on the available light sources and overhead sky, but it does takesome lens work and experimentation. Staged lighting is also an option, but also requires another level of technical knowledge and understanding of how the lights will affect the color and temperature of the shot.

6.顏色Color

在考慮顏色時(shí)，目標(biāo)是保持建筑物真實(shí)特征。許多專業(yè)人士使用偏振濾鏡或color collaborators（我不知道這是啥，也許是校色用的色板）來獲得正確的顏色。人造燈可以扭曲顏色，因此在夜間或室內(nèi)拍攝時(shí)要小心。（小知識(shí)：日光燈是綠色的）

When considering color, the goal is to remain true to the building and its character. Many pros use polarizing filters or color collaborators to get the right color. Artificial lights can skew color perceptions, so there is caution to be had when shooting at night or indoors.

7.簡單的構(gòu)圖Simple composition

線條和圖案是建筑的美學(xué)基礎(chǔ)。攝影師使用引導(dǎo)線引導(dǎo)觀眾在場景或主體上的注意力。為了良好的構(gòu)圖需要保持簡單專注于線條; 盡可能將它們指向角落。使會(huì)聚線保持垂直。水平上的構(gòu)圖可以考慮三分法則。其實(shí)有無限的角度可供使用，在建筑的四周轉(zhuǎn)轉(zhuǎn)將有助于創(chuàng)作更具創(chuàng)意和沖擊力。

Lines and patterns are the aesthetic basis of architecture. Photographers use leading lines to guide the viewers’ attention across the scene or subject matter. For good composition, keep things simple and focus on the lines; direct them towards the corners when you can. Vertically, think about those converging lines. Horizontally, think about the Rule of Thirds. There are infinite angles to work with, and walking around to explore will help compose more creative and impactful images.

規(guī)模也很重要，如果您需要給出一定的規(guī)模感，請(qǐng)考慮前景和背景，以及如何使用人或樹等對(duì)象制作參考物。

Scale is also important to consider. If you need to give a sense of size, think about the foreground and background and how you can make reference points out of objects like people or trees.

8.清理舞臺(tái)Clear the Stage

分散注意力的東西越少越好，有助于保持場景清潔。汽車和人會(huì)阻礙我們的工作環(huán)境。盡可能嘗試移動(dòng)或?qū)で髣?chuàng)造性的方式來裁剪或合并。垃圾或樹葉等較小的物品很容易整理，沒有這些雜物會(huì)使最終產(chǎn)品更好。

The less distraction the better, so it helps to keep the scene clean and clear of debris. Cars and people are frustrating environmental obstacles to work with. Try to move if you can, or seek creative ways to crop or incorporate. Smaller items like trash or leaves tidy easily, and their absence will make a difference in the final product.

9.注意反射Reflections Kill

花一點(diǎn)時(shí)間環(huán)顧四周，看看有什么可能會(huì)反射你。鏡子和光亮的表面可能會(huì)產(chǎn)生不必要的反射破壞畫面，而且直到你回到家后才會(huì)看到它們。

Take a moment to look around and see what might be looking back at you. Mirrors and shiny surfaces can ruin shots with unwanted reflections, and often these aren’t viewed until back at home.

10.拍攝后Post-Shoot

編輯軟件可以幫助糾正和增強(qiáng)光線、顏色甚至透視。但并非所有錯(cuò)誤都是可以修復(fù)的，只有盡可能多地在現(xiàn)場和相機(jī)中完善作品才能成為更好的攝影師。

Editing software is there to help correct and enhance light, color, and even perspective. But not all errors are fixable, and doing as much as possible onsite and in camera creates better photographers.

最后，請(qǐng)記住，耐心是一種美德。特別是對(duì)于建筑來說訓(xùn)練攝影眼需要時(shí)間。像任何熟練的藝術(shù)和手藝一樣，它是關(guān)于實(shí)驗(yàn)，探索的，而且必須耐心通過經(jīng)驗(yàn)來學(xué)習(xí)。

And finally, keep in mind that patience is a virtue. It takes time to train the photographic eye, especially for architecture. Like any skilled art and craft, it’s about experimenting, exploring, and having the patience to learn through experience.