正空间和负空间那点事儿

眼前的明暗区域，在照片里这些相同的区域，被称作是正空间和负空间。这时，正空间被当作是一连串的岩石，负空间被当成是流动的溪流。这个溪流是流动的吗？如果不是，正空间和负空间的相互作用是令人振奋的还是乏味的？正空间和负空间的形式是精致的还是普通的？这些流动的线条是有趣的图案，或是静止的，或是不连贯的，或是被破坏的吗？一个很简单的检测方法，你眯缝着眼睛让这个画面模糊，（如果你戴着眼镜请取掉它），你只看到主要的部分而看不到精致的细节，这时再问你自己那些问题。相互作用的一般形式和模式对于照片的整体设计至关重要。

The light and dark areas in front of your eyes, and these same areas in the photo, are called positive space and negative space. Here, positive space is regarded as a series of rocks, and negative space is regarded as a flowing stream. Is this stream flowing? If not, is the interaction of positive and negative space exciting or tedious? Are the forms of positive and negative space refined or mundane? Are these flowing lines interesting patterns, or are they still, incoherent, or disrupted? In a very simple detection method, you squint your eyes to blur the picture, (if you wear glasses please remove them), when you only see the main part and not the fine details, then ask yourself those questions. The general form and pattern of interaction are critical to the overall design of the photo.

当图像是模糊的，那就看一下色调的相互作用总体影响是令您满意的还是不满意的。我们经常陷入图像的细节，导致了我们的整个形式和模式的失败，或者正空间和负空间相互作用的失败。

When the image is blurry, see if the overall effect of the interplay of tones is satisfactory or unsatisfactory. We often get caught up in the details of an image, leading to the failure of our entire form and pattern, or the failure of the interaction of positive and negative space.

正空间和负空间是平衡的吗？这并不是在问是否是50%的明和50%的暗，而是正空间和负空间在一旁或者是在角落与其他部分相比较。摄影当中的平衡和不平衡是就正空间和负空间而言的。

Are positive and negative spaces balanced? It's not asking if it's 50% light and 50% dark, but positive space and negative space on the side or in the corner compared to the rest. Balance and imbalance in photography are in terms of positive and negative space.

我们必须知道负空间可以是明的也可以是暗的。举一个简单的例子，如果看一个有窗户的房间的室内，此窗户向明亮的，空白的外部开着，在图像中这个窗户就是负空间。近处的柱子和拱门是正空间，远处的大殿是负空间。

We must know that negative space can be bright or dark. As a simple example, if you see the interior of a room with a window in the distance, and the window is open to a bright, blank exterior, which in the image is negative space. The nearby columns and arches are positive spaces, and the hall in distance is a negative space.

Brett Weston（1911-1993）被广泛认为是二十世纪的主要摄影师之一， f/64 成员。他主要以基于西域风景和自然形态的大胆构图，善于运用正负空间以及非凡的印刷风格而闻名。

Brett Weston (1911-1993) is widely regarded as one of the leading photographers of the twentieth century, a f/64 member. He is mainly known for his bold compositions based on Western landscapes and natural forms, his good use of positive and negative spaces, and his extraordinary print style.

相映成趣。他摄影的成功在于调性的相互作用，同时，明亮的前景物体和背景区域都精彩。若他的作品里没有明显的抒情，正负空间的相互作用只会产生更多的过度对比，但是他把这些对比，变成了有丰富元素和流动的设计。

Complement each other interestingly. The success of his photography lies in the interplay of tonal, at the same time, bright foreground objects and background areas are both brilliant. If there is no obvious lyricism in his work, the interplay of positive and negative spaces will only create more excessive contrasts, but he turns these contrasts into designs with rich elements and fluidity.

Brett Weston最早的图像反映了他直观而复杂的抽象感，他经常把平面弄扁，对空间进行分层。他的这种艺术风格，在抽象主义者中比其他摄影师更为常见。他被摄影史学家Beaumont Newhall 称为第一位将负空间作为照片主题的摄影师。

Brett Weston's earliest images reflect his intuitive yet sophisticated sense of abstraction, often flattening planes and layering spaces. His artistic style is more common among abstractionists than other photographers. He is called by photography historian Beaumont Newhall the first photographer to use negative space as the subject of his photographs.

我们来看看Rupert Nicholson是如何赏析Brett Weston的Mendenhall Glacier, 1973

Let's take a look at how Rupert Nicholson analyzes Brett Weston's Mendenhall Glacier, 1973

"It would appear that this photograph was exposed on a bright sunny, cloudless day, with no wind, leaving the glacial water like a mirror.

The composition is typically abstract, with strong bold shapes of Black tones from the land mass in front of the glacier, the foreground water, and the sky. I think a Red filter may well have been utilised to enhance these very dark and rich tones.

Contrasting with the strong shapes of dark tone is the light toned glacier to the top of the picture and smaller pieces of broken/thawed glacier blocks in the foreground.

The image area has a similar amount of “Positive” and “Negative” shapes (Undetailed Blacks versus Light tones of glistening Ice) The Style of Brett Weston’s compositions often gave the viewer a flat depth two-dimensional appearance as opposed to a three-dimensional appearance, aiding his abstract trademark.

We all perceive other photographer’s images with our own interpretation, and for myself, this image is not easily viewed. I find that I look at the bold Black land mass and the glacier as one point of interest, and then look at the foreground broken ice pieces in a Sea of darkness. It is like looking at two images within one frame. However, I can return to the image and view it as a complete diagonal, zig-zag compositional flow. "

----Rupert Nicholson

这张照片似乎是在阳光明媚、万里无云的日子里曝光的，没有风，留下的冰川水像一面镜子。

构图是抽象的，有冰川前面的陆地、前景的水和天空强烈大胆的黑色调形状。我认为红色滤镜很可能被用来增强这些非常暗和丰富的色调。

与深色调形成对比的是图片顶部的浅色调冰川和前景中较小的破碎/融化的冰川块。

图像区域具有相似数量的“正”和“负”形状（未详细说明的黑色与闪闪发光的冰的浅色调）布雷特韦斯顿的作品风格通常给观众一个平面深度二维外观，而不是三维外观，以辅助他的抽象特点。

我们都以自己的解释来看待其他摄影师的图像，而对于我自己来说，这张图像并不容易被观看。我发现我将大胆的黑色陆地和冰川视为一个兴趣点，然后在黑暗之海中看到前景破碎的冰块。这就像在一帧中看两个图像。但是，我可以返回图像并将其视为完整的对角线、锯齿形的组合流。

----Rupert Nicholson