One of the challenges in producing documentaries is keeping the on-camera interview segments visually interesting. I like this challenge since as a photojournalist I find stories in the expressions of the people I interview, at times even more so than the supporting footage.
制作纪录片的挑战之一就是使镜头前的访谈在视觉上有吸引力。我喜欢这种挑战，因为作为一名摄影记者，我能从我所采访的人的表达中发现故事，有的时候甚至胜过支持性的素材。
What I've learned after producing hundreds of interviews is to anticipate, to illuminate, and to compose inside and outside compositional rules.
在做了上千个采访之后，我逐渐明白了要去预期，去照明，去建构内部以及外部的构图原则。
预期 Anticipate
While anticipation is not a photographic technique, this concepts drives what I do photographically while filming an interview and it is relatively simple: listen to what is being said and anticipate non-verbal expressions and reactions during the interview.
尽管这并不是一种摄影技巧，这一观念驱动着我采访时的摄影活动。它其实挺简单：倾听对方在说什么，期待采访中的非言语表达和反应。
If the person being interviewed is telling a story, I will always start by framing them up in a standard medium shot with enough room in the frame to allow their gestures to be seen. Typically this is framed from lower torso to the top of the head with enough headroom to balance the composition.
如果被采访人正在讲一个故事，我总是会以标准的中景开始，使画面里有足够的空间以展现他们的肢体语言。通常这种取景从躯干下部开始到头顶，并留有足够的头顶空间使构图平衡。
When the person being interviewed becomes more involved or emotional within the interview I'll slowly push into the person or if the the producer is asking a question off-camera, I'll quickly bump in close and pick up my filming with the subject framed closer, typically just below the collar bone to just below the top of the head, looking something like this:
当被采访的人在采访时入戏了或者变得情绪化了，我会慢慢推上去，或者如果制片人在画面外问一个问题，我会赶紧推上去，以更近的景别继续录，多数时候从锁骨以下到头顶，看上去像下图这样。
While shooting the interview I do not lock down the head of the tripod, keeping pan and tilt fluid. I maintain enough drag to keep movements from being too sudden, but loose enough to pick up any action of the subject. If my subjects looks down, for example, I'll float the frame down with them, using the focus of their eyes as a vector for the direction of my film plane movement. Should their eyes look to the hands, I'll let the frame drift down to them, linger there for a moment and then crawl the frame back up to their face.
在拍摄采访的时候，我不会锁死三脚架的云台。我会保持足够的阻尼使移动不会过于突然，但又不会太紧以跟上被采访者的任何动作。比如，如果采访对象向下看，我会把镜头向下倾斜，把他们目光的焦点作为向量指引镜头的方向。如果他们的眼睛看着自己的手，我会让画面向下移向他们的手，稍微徘徊一下，然后重新向上移回到他们的脸上。
Since much of what we say is non-verbal, and much of our non-verbal expression is outside the scope of the face, I find it better story telling to pick up on these cues, anticipating where the subject's emotion or tension might be focused. Often, the hands are a great place to look.
因为我们表达中的绝大多数信息来自于非言语部分，且多数非言语表达都在面部表情以外，预想对方的情绪或张力可能集中于哪里，抓住那些东西能更好地讲故事。
照明 Illuminate
Look closely into this subject's eyes and you will see the catchlights, tell-tale signs of how she was illuminated. The soft, short loop shadow under her nose is a clue as well. She was lit using a glamour set-up of three point lighting with a key light just above and forward of her face, a bounce fill underneath her face to pull detail in the shadows of her hoodie, and a very faint backlight that illuminates from behind her separating her form from the black background.
仔细看采访对象的眼睛，你会看到眼神光，这能告诉你她的照明如何。她鼻子下方那个柔和、短小的圆圈形阴影也是个很好的线索。她的照明使用的是三角布光法。主光来自她面前稍高的位置，脸部下方有一个反光板补光，用以展现帽衫影子里的细节，还有一个很微弱的背光从她后面照过来，把她和黑色背景分开。
Three-point lighting is a technique inspired by the Dutch Masters of painting, modeling the face with a main light, or what is called a key light in photography, bouncing light back into the shadow side of the face with a reflective material or lamp called a fill and then separating the subject from the background with a backlight or what is commonly called a kicker.
三角布光的灵感源于荷兰的绘画大师，一个主光照亮脸部，使用反光板的反射光或灯光照亮影子一侧的脸，然后用背光把主体从背景中分离出来，通常叫反射光。
One standard of interview lighting is a three-point set-up called a Rembrandt, after the artist, and is illustrated below.
采访中的标准用光是叫做伦布兰特的三角布光，以该艺术家命名。如下图。
It's called a Rembrandt because of the triangle of light that models the cheek of the face opposite the key. The triangle is created by placing the key fixture 45 degrees off the center of the subject's face and about forty five degrees above. The exact position is finessed a bit to create a long loop shadow of the nose that falls into the cleave of the cheek while still maintaining the key's highlight in both eyes. Before any additional light is added, I pull an exposure off the highlight side of the face.
它被称为伦布兰特布光因为这个灯光三角把模特冲着主光一侧的颧骨照亮。这个三角来自于主光被布置在主体所面向方向的一侧45度以及上方45度。通过巧妙安排具体的位置，鼻子的阴影可以在颧骨上产生一个很长的弧形，同时还能保持眼睛里反射出的主光。在增加任何光源之前，我以脸的明亮一侧确定了曝光度。
A fill is then introduced, either from another fixture or some type of bounce fill, to bring detail back into the shadow side of the face. Photographers vary in this exposure with ratios of half the fill exposure to the key or more or less. I let the story we are there to film dictate the level of dramatic lighting: the lower the ratios the less dramatic, the higher the ratios the more dramatic.
我们使用另一部灯光或某种反光板引入补光，以展现阴影一侧的脸的细节。摄影师一般会按照主光一半左右的比例安排。我让我们所录的故事情节来决定戏剧化照明的程度：比例越小，戏剧化感觉越少，比例越大，戏剧化程度越高。
The same can be said for the backlight's exposure varying in intensity depending on the drama of the interview.
背光的亮度也同样是由采访内容的戏剧化程度决定的。
For example, the subject below is the survivor of a motorcycle accident that resulted in a severe brain trauma. It's a remarkable story, especially considering the odds he overcame to a complete recovery.
The ratio of the key highlights to the fill shadows is about 3:1, making the photography more dramatic, but I decreased the ratio of the backlight to give dimension and a bit of an exposure pop to the side of his head and even more to the rim of his glasses, framing out his eye on the shadow side of the face.
主光和补光灯比例是3比1，这使得照片更具戏剧感。但我减少了背光的比例以给他增加维度，并使头的一侧更加“突出”，但更重要的是使得眼镜框凸显，让眼睛在阴影里突出出来。
He is being lead camera-right, meaning while he is composed in the frame camera-left, his face turns into the frame right, and while his eyes are to the camera for this shot, he is talking to a producer off-camera to the right where he made eye contact. My style in interview illumination is to produce the highlight on the side of the face that is away from the camera, allowing the shadow side of the face, the more modeled and dramatic to be featured closer to the camera.
他被引导向右看，眼睛冲着镜头方向，但同时它在和画面外右侧的制片人在对话。我在人物采访照明中的风格是照亮非镜头一侧的脸，让影子一侧更有造型和戏剧性的脸冲着相机。
A word about the eye placement - When interviewing people who are not the host of the program nor play any role in interacting with the viewing audience, their eyes should stay on the producer, the person conducting the interview, or what is called subjective framing. If the person is telling their story directly to the viewing audience, such as a host or narrator, their eyes should go to camera for objective framing.
简单说一句关于眼睛的安排：如果你采访的这个人不是主持人，也没有和观众的任何互动，他们的眼睛应该看着制片人，即采访他的那个人，这叫主观取景。如果这个人在直接跟观众说话，比如主持人，他们的眼睛应该看着镜头，这叫客观取景。
We will be practicing all these techniques in Wednesday's studio time.
我们周三会在演播室里练习这些技巧。
遵循或打破构图规则 Composing Inside and Outside the Rules
I am hoping you have noticed that this image breaks some rules of composition, how he is composed and lead in the frame. The term lead means the direction the subject is facing and the space they are facing into is called lead-room or nose-room. Were this composition framed according to these guidelines, the subject would be positioned more camera-left since his body and face is turned camera-right. For the purposes of this interview, a graphic element would come in over the white negative space on the left side of the frame, and the talent had an edge to him, an attitude that played better having him composed in this way.
我希望你注意到了布洛克的这张照片打破了一些构图规则。他在照片中的位置和取景中的方向引导。方向引导指的是主体所面对的方向。他们面向的空间叫做引导空间或者鼻子空间。如果构图按照这些原则进行，布洛克应该被安置在镜头左侧，因为他的脸和身体冲着镜头右侧。为了采访，一个图形特技会出现在取景左侧的白色区域，这样构图能表现出演员的一种气质或态度。
The Rule of Thirds, as discussed in the Landscape Chapter, apply in framing interviews as well, along with the rule of Frame Forces.
在风景摄影中讲到的三分原则、边框引力原则一样适用于采访取景。
Faces lend themselves to the golden rule, unique compositions in and of themselves, but frame them under the same compositional influences using thirds and the images breathe. Imagine if each of these following images were framed dead-center, static.
脸正好在黄金分割线上，这本身就是很独特的构图，但同时还要考虑到画面里的呼吸空间。想象一下，如果下面这些画面都以居中取景，则会很静态。
The first subject flirts a bit with the frame that is closest to her face, the one that is camera-left, and her framing is breaking the common rule of leading - she is crowding the frame. Her proximity to the frame's edge acts like a magnet, pulling her closer to the frame. This is called a frame force. The Rule of Thirds forces her eyes to the frame which induces a bit of bounce back with their eyes. Since the eyes are closer to the frame, it is as if the edge draws the eyes' direction to the frame as well, but instead they bounce back to the film plane, taking your eyes into the frame. This creates an image that is more dynamic and interesting. She is lively and vivacious and spoke in her interview with great energy so I used that energy to frame her differently and lend to the context of her story.
第一个主人公似乎与靠近她脸一侧的，镜头左侧的取景框有点互动。这个取景打破的通常的引导空间原则，她占满了整个画面。她与画面边缘很接近，有点像被磁石向边框吸引。这叫做边框引力。三分原则使得她的眼睛要放在靠近边框的地方，这造成和了一种反推感，使你的目光集中在画面上，使得生动有趣。她很活泼，在访谈中充满气场，所以我利用了那种气场，以不同寻常的取景方式为她的故事制造一些视觉上的语境。
The second subject's composition exploits the thirds rule as well, but the energy here is more riveting on her eyes by the placement and the lack of influence of the frame. There is no ricochet like the one above, so framed due to a number of factors; the sub-composition of the contrast of her hair against her hoodie against the background and the remarkable agreement between her eyes and her smile.
第二个主人公的构图同样利用了三分原则。但通过这样安排眼睛的位置，以及避免边框的影响，她的气场更吸引人。这幅照片不像前面那个那样有反推感，所以构图依据了以下几个因素：依据她头发，帽衫以及背景的明暗对比来构图，以及她眼睛和微笑的和谐关系。
I don't often recognize these influences during the shoot, this has become instinctive for me over the years. It's more a matter of trusting the movement of my own eye in the viewfinder and the subtle adjustment of the film plane to capture something that communicates.
我在拍摄时并没有意识到这些影响。它们都来自我对自己眼睛观察取景器的能力，以及对微调相机来捕捉交流感的能力的信任。