再顶！

The same rules apply to landscape photography. Another
friend, one of Britain’s most celebrated and talented landscape
photographers, Joe Cornish, has in his office a map of
his local area, marked with suggested shooting angles, ideal
months and notes on weather (for lighting), all indicating
the best times and conditions for photographing a particular
scene.


同样地，这条规则同样适用于风光摄影。我的另一个朋友--英国最知名与最优秀的风景摄影师之一，Joe Cornish。在他的办公室里有一张地图，上面标记着最佳的拍摄角度，理想的拍摄月份。并且对天气状况做了标注（主要是为了了解光线状况）。每一个特定的地点都注明了最理想的拍摄时机与条件要求。

So, when he’s sitting in his office and looks out to
find the ideal conditions, he just grabs his bag and heads off ,
knowing his intended destination with precision. There’s no
messing about, no time wasted um-ing and ah-ing about
where to go. There is a reason that Joe captures the images he
does and this is one of them.

所以当他坐在办公室里并且想找到拍摄时的理想条件时，他只需要拿起他的摄影包，然后仰头看看地图，就可以找到那个最理想的拍摄地点了。这样，他就再也不需要把时间浪费在“嗯……”、“额……”上了。

Award-winning macro-photographer, Paul Harcourt Davies,
explains how he manages to capture spectacular images of
insects: “The problem most people have with photographing
subjects such as dragonflies is they do it at the wrong time of
day. Most insects become active as the sun warms the air and,
although they’re easy to find at this time, they never stay still
long enough to photograph them.



屡获殊荣的微观摄影师 Paul Harcourt Davies 解释了他是如何捕捉到了那令人震撼的昆虫影像的。“大多数人在拍摄类似蜻蜓这样的昆虫时，总是在时间的选择上犯错误”，他说。

绝大多数的昆虫在日出之后，气温开始逐渐上升时，开始变得活跃。尽管这时我们可以很容易的发现他们。但是，这个时候它们绝不可能安安静静的停在那里等我们去拍摄。


Instead, I venture out early in the morning to known hot spots and photograph them
when they’re lethargic from the cool morning temperatures.
It’s not rocket science, just science … basic biology.”

和大多数人相反，我通常赶在气温开始上升之前去拍摄，在那个时段，昆虫们通常都处在休眠状态。这不是什么高科技，只不过是最基础的生物学常识。

非常好的一个贴子，楼主你为了大家一定要坚持完成。

In the course of research for this book, I have spoken to
many photographers from all genres of photography—
sport, press, music, food, social and so on—and without
exception, they all say the same thing: Without an in-depth
knowledge of their subject, they’d never capture the images
they do. Great images don’t happen by chance, but rather by judgment, that is, the photographer’s ability to read the scene
and anticipate the shot.

Lesson number two: Know your subject
like you know yourself.

在我编写这部书的过程中，我曾经和许许多多各种类别的摄影师交流过。包括：体育类、新闻类、音乐类、食品类、社会类、等等。他们毫无例外的表示：假如没有对拍摄主体的专业知识有相当深度的了解。他们将很难开展工作。伟大的影像不是靠运气能得来的，而是要考拍摄者的判断力----也就是摄影师解读场景与预判的能力。

第二课：了解你的主题，就像了解你自己一样。

你就拉倒吧，真的没人看，这里仅仅是杂谈，并非砖业论坛

斑猪不过也是象征性礼貌的鼓励你一下，不怪谁，都怪摄影太艰深

谁说没人看，难得有好帖，不看的人不看是不看的人的损失。

谢谢大家捧场

其实 只要有人愿意看 我就OK了 希望能对有需要的人有所帮助。


VISUALIZATION AND THE ART OF SEEING
可视化 与 视觉艺术
“Visualization” is a word that was used frequently by the
grandmaster of outdoor photography, Ansel Adams. Adams
defined visualization as “referring to the entire emotional mental
process of creating a photograph” and as “a conscious
process of projecting the fi nal photographic image in the
mind before taking the first steps in actually photographing
the subject.”

“可视化”是一个户外摄影特级大师安塞尔亚当斯经常使用的字眼。
亚当斯将之定义为“在创建一副影像过程中的整个情感与心理的可视化过程”或 “在实际拍摄前想象最终拍摄结果的过程。”


For me, visualization starts before leaving home. Although it
would be unfair to suggest that I, or indeed any professional
photographer, knows every image I am going to record before
I record it, frequently I have a clear idea in my head of certain
images and compositions I intend to capture.

对于我来说，“可视化过程”这意味着在我离开家门之前，我就必须清楚地知道我将要记录的每一副图像，并且对于我即将拍摄的图像，我必须有一个明确的拍摄想法。

尽管这对于我，或是任何一种类别的专业摄影师来说，都是一件艰难的事情。


The image of the brown bear (p. 247) is a perfect example. This image
was photographed on my third visit to Katmai National Park
(although my first visit to the Katmai Peninsula). Before I left
home, I pictured this scene almost exactly as you see it on the
page.


第247也棕熊的影像就是一个完美的例子。这张图片拍摄于我第三次访问Katmai国家公园。在我离开家之前，我就想象着这一幕，而最终结果几乎与我之前的想象一模一样。


This was the shot I went all the way to Alaska to get.
Now, while it may have been possible to photograph the same
shot without having visualized it, the fact that I knew what I
was looking for when I arrived on location made it more certain
that I’d find it.

这是偶不辞辛劳到阿拉斯加拍滴照片，尽管脑子里没有设想过也能拍出相同的图片，但事实上偶知道自己寻找滴东西，到达目的地那一刻偶更加确定就是它了。（请高人帮忙翻译的结果）

In other words, visualizing the idea of a
photograph increases the likelihood of finding the right subject
and conditions in which to photograph it, which, in turn,
increases the success rate of your photographic journeys and
adventures. As Michael Nichols said previously, “When I’m
doing research, ideas about pictures come to my head. That
doesn’t mean I’m going to go out and set up pictures, but it
gives me a lot of ideas so I can hit the ground running.”

换句话说，在脑海中“视觉化”这个拍摄过程，可以为找到合适的主题与拍摄条件创造更多的机会。就像Michael Nichols 之前说过的那样。“当我开始研究课题的时候，关于照片的灵感从我的脑海中开始闪现。虽然那并不意味着我就要出去拍摄那样的图片，但是那样会为我带来更多的创作灵感，这就为我未来的成功拍摄创造了有利条件。

Tip
小提示Google Earth is an excellent point of reference for determining how
a scene looks in real life and can be used in conjunction with a map
to help plan a photo excursion.

谷歌地球是一个非常出色的工具。它能够显示出拍摄场景在现实生活中的样子。结合地图，他能非常有效的帮助我们规划一次远途拍摄。

非常好的秘技，很实用，谢谢啊！！！

这样的帖子很辛苦，感谢楼主的付出，看了受益！

这种学习精神值得表扬，对楼主！

that visually reveal the verbal message.

许多热衷户外摄影的摄影师经常问我一个问题:"你怎么看你拍摄的图片？"，显然有些照片非常直观，主题简单明了。但大部分照片还是比较微妙的。

和 Michael Nichols 一样我经常需要通过照片来讲述一个故事，图片的意义往往要超过图片主体本身，譬如环境保护方面的报告（例如：动物栖息地的逐渐减少，偷猎或全球气候变暖）。在这种情况下，我需要经常寻找特定的场景来将这些环境保护报告直观地展现出来。

At other times I look beyond the literal subject. For example,
the image of wildebeest reproduced on page 20 was photographed
during the seasonal migration of wildebeest, zebra
and gazelle in the Serengeti, Tanzania. Now, wildebeest are
far from the most photogenic of subjects: They’re rather ugly
and, apart from eating grass, they do very little. So, after a
day of nondescript photography I asked myself the question,
“What am I actually photographing here?” The answer
I came up with was “migration” and I conceptualized what
migration means—movement: Migration is the movement of
animals (or people) from point A to point B. Thus, movement
became the subject of my images and I used my camera
to record a sense of motion, rather than straight, simple (and
often uninspiring) portraits of wildebeest.

我期待我的作品能够超越主题的字面意义。例如，在20页上我拍的牛羚是季节性迁徙的动物。可是呢，牛羚也是一个很不上相的动物：因为它们很难看，而且除了吃草，别的也不做什么。

因此，经过一天无聊与失败的拍摄后，我静下心来问自己：“我到底在拍什么，我到底要拍什么？”。最终我想到了“迁徙”是我要拍摄的主题。

“迁徙”的概念就是指运动：从A点运动到B点，因此，运动成为我图片的主题，而不是直接、简单的牛羚大头像。




=====
PHOTO © CHRIS WESTON
Sometimes my images reflect life and circumstance, and are used in an editorial
context, such as the scene revealing the nature of farming in Rwanda, close to
gorillas’ natural habitat (right). At other times they are more artistic in design,
capturing conceptual ideas of nature and the world around us, as the image of
movement shows (see image on page 20).


=====
有些时候我的照片要直接反映生活与环境，在一片社论中我展示卢旺达农业生活的场景，如右图所示。农耕用地非常地接近大猩猩的自然栖息地。

而另外更多的时候，我是以通过艺术设计的形式来捕捉周围的自然事物与概念，例如20页的图像所展示的那样。

This method of defining the subject, which is covered in more
detail later in the book (see Habit 5), is critical to successful
photography. To illustrate this point, imagine I asked you
to write a short story or to present an illustrated talk. Your
first question, quite legitimately, would be, “About what?” You
need to know exactly the nature of the subject before you
begin, and that applies equally to photography as it does to
writing, public speaking or any other form of communication.

这种定义主题的方法（自问：“我到底要拍什么，表达什么？”），是贯穿于全书的，也是摄影成功的关键。

为了说明这一点，想象一下，当我要求你写一个小故事，或者提供一个图文并茂的对话录。你的第一个问题，肯定是：“是关于什么的呢？”，因为你必须确切的知道你表达的主体的性质。

这个道理不仅适用于写作与公开演讲或是其他形式的交流，同样地，也适用于摄影。