Working title TBD · 标题待定
定位：旅行与自然纪实方向的视觉内容摄影师；辅助技能为城市几何构图与图文排版。
The distinction matters. What is on offer here is narrower and more employable: the ability to carry a shoot from subject research through capture, selection and colour to a laid-out, publishable set of images and captions — alone.
差别在这里：只会拍照的人交的是照片。这份作品集要证明的是更窄、也更好用的一件事——从选题、拍摄、选片、调色一直做到可直接发布的图文成品，一个人跑完。
The portfolio has one job: convince a hiring editor in thirty seconds that a location assignment can be handed over without supervision.
作品集只需要做成一件事：让招聘方在三十秒内相信，一次外拍任务可以直接交给我。
The audience is specific: content teams at travel and destination brands, picture editors at content platforms, visual content creators inside brand marketing teams, and multimedia assistants at news organisations. All four hire for the same profile — someone who can shoot, select, retouch, lay out and explain the result.
受众很具体：文旅品牌与目的地营销的内容团队、内容平台的图片编辑、品牌内容团队的视觉内容创作者、媒体的多媒体记者助理。这四类招的是同一种人——能拍、能选、能修、能排、能讲清楚。
The market case comes from the course's own industry brief: China's cultural and related industries exceeded RMB 20.8 trillion in revenue in 2025, with content creation and creative design among the fastest-growing sectors, and the demand is digital-first. That rules out two adjacent paths — commercial studio work, which none of the existing evidence supports, and fine-art photography, which requires gallery representation rather than an employer.
市场依据来自课程材料本身：2025 年中国文化及相关产业营收超过 20.8 万亿元，内容创作与创意设计是增长最快的板块，且数字优先。这同时排除了两条相邻的路——影棚商业摄影（现有作品完全不支持），以及纯艺术摄影（需要画廊代理，而不是雇主）。
Source: COM4236 Week 2, Digital Portfolio — Career Pathways, slide 23.
按系列而不是按年份导航，每张照片都归属一个命名项目。
不展示过程、几乎没有联系方式——那是成名摄影师的特权，应届生照抄只会显得空。
摄影与设计是同一个身份；作品按服务类型和行业归档，页脚直接写服务清单和邮箱。
没有 About 页、项目几乎没有说明，看得到结果看不到思考——正是课程点名的那个问题。
一条黄河串起整组作品，色调统一。一个主题加一套色调，比一堆各自好看的单张有力得多。
画廊艺术家模式没有客户作品和交付说明，换不成第一份工作。
Each diagram below is my own drawing of how the page is organised — where the grid divides, how much of the surface the images take, where the white space sits. The point is not to copy a look but to choose a structural model that suits eighteen photographs in three series.
下面每张图是我自己画的版面骨架：栅格怎么分、图占多少面积、留白在哪。目的不是抄外观，而是为"18 张照片、三组系列"选一个合适的结构模型。
ModelProject-led masonry. Blocks of unequal height, navigation by series rather than by date.
TakeThe series bar across the top. It forces every frame to declare which body of work it belongs to.
项目主导的错落网格，按系列导航。要借的是顶部那条系列栏——它逼着每张照片说清自己属于哪一组。
ModelFour even columns, uniform tiles, work filed by service and industry; services and a direct email in the footer.
TakeDesign and photography under one identity, and a footer that states plainly what can be commissioned.
四等分列、统一图块，按服务与行业归档，页脚写清服务与邮箱。要借的是"设计与摄影同一身份"，以及页脚直说能接什么活。
ModelOne full-bleed image holding the whole page; one project per page, paged through rather than scrolled past.
TakeScale as an argument. For Series B — two frames only — one large plate says more than a grid of thumbnails.
整页一张满版图，一个项目一页，翻页而不是滚动。要借的是"用尺寸说话"：Series B 只有两张，放大反而比缩略图网格有力。
ModelA dense uniform grid with no gaps, read like a feed — volume signals activity.
RefuseWith eighteen frames, volume is not available and imitating it looks thin. Noted as the model not to follow.
无间隙密排网格，靠数量说话。这是明确不采用的模型——只有 18 张，学它只会显得单薄。
结论：以 Levon Biss 的系列导航为骨架，用 Cassandra Ladru 的满版尺度处理样本少的系列，页脚按 Meiwen See 的做法写清能接什么活。
Conclusion: Biss's series navigation as the skeleton, Ladru's full-bleed scale where a series is short, See's explicit footer so the page states what can be commissioned.
Every name above is a live link — open any of them to see the full site. The diagrams are my own drawings; no screenshots are reproduced here.
Under every image is one line saying what skill it shows an employer. If an image proves nothing a hiring editor needs, it is not in here — even when I like it. The split is 70 / 20 / 10: most of the work aimed straight at the job, some showing range, a little from outside photography.
每张图下面一句话，说明它给雇主看的是什么能力。证明不了对方需要的能力，就不放进来——哪怕我自己喜欢。分组按 70 / 20 / 10：大部分直接对准岗位，一部分展示题材覆盖面，一小部分来自摄影之外。
Series A — Urban Geometry · 城市几何 · 5 plates
摩天楼转角 · 负空间
Subtraction by architecture: one hard edge, one large field of sky. Composition alone carrying the frame, with no lighting control available.
天花板同心方 · 黑白
Three dimensions flattened into a graphic figure. Evidence of looking for unorthodox camera positions rather than shooting from standing eye level.
楼隙弯月 · 暮色
A frame that only exists for about fifteen minutes. Evidence of waiting for light — the most basic professional habit on location.
空场与一颗球 · 黑白
One subject against a large empty field, carrying mood without filling the frame. Restraint as a deliberate choice.
雪地公园 · 人作尺度
A person placed in the environment as scale rather than as subject — the line between documentary and a holiday snapshot.
Series B — Volcanic & Geothermal · 地热地貌 · 2 plates
火山灰柱 · 布罗莫
Shot in high contrast and low visibility with tonal separation intact. The question a destination brand actually asks: will you go, and can you still deliver once you are there.
硫磺矿蒸汽 · 伊真
The only saturated warm colour anywhere in the body of work. It became the portfolio's single accent, drawn from the photographs rather than chosen for them.
Series C — Waiting · 等待 · 4 plates
夜鹭 · 长焦
Field patience and long-lens focus. The least substitutable part of the portfolio, because nothing here can be recovered in post or produced on a deadline.
绿蛇 · 同色分离
Focus and separation achieved where subject and ground share a hue and a value. A technical problem most portfolios never attempt.
逆光枝叶 · 剪影
Exposure judgement under extreme backlight — deciding what to lose rather than trying to hold everything.
黑猫 · 极简
A plain wall, one catchlight, no equipment. Proof that the results do not depend on location budget or gear.
海崖 · 努沙佩尼达
Baseline landscape delivery — the everyday output of a destination content role.
云海山脊 · 日出
Clean warm-to-cool transition, and evidence of being in position before first light.
海岸横幅 · 原生 16:9
Framed at capture for its output ratio — the same discipline Assignment 2 assesses as format standardisation.
圣索菲亚教堂 · 哈尔滨
Disciplined architecture and landmark work; the one frame here that could run as destination publicity unchanged.
环境人像 · 暮色
Placement and eyeline handled within a real location. Kept to two portraits in total; portraiture is supporting evidence, not the target role.
柳下人像 · 高调
Skin tone held against a blown background, with the subject placed off the light rather than in it.
车内日常 · 纪实
Held without arranging anything — a child, a pair of hands on the wheel, the light as it was. The frame that anchors the documentary claim the rest of the work makes.
反网络霸凌海报 · 公益
One finger, one Enter key, and a beam of abuse falling on a figure already down. A single visual device carrying the line pressing the 'key' can hurt — concept, type and image resolved as one idea.
四格叙事海报 · 机构命题
A narrative told in four panels for an institutional brief: isolation, an approach, acceptance, resolution. Sequencing, character consistency and a campaign line landed in one artwork.
Every photograph was sampled for its dominant colours. They cluster tightly in a cold grey blue, with one recurring warm neutral. The only saturated accent in the entire body of work is the sulfur at Ijen. That becomes the accent — used once per spread, never decoratively.
18 张照片逐张取主色，结果集中在一段冷灰蓝，外加一个反复出现的暖中性。整组作品里唯一的高饱和色就是伊真的硫磺——它成为唯一强调色，每个跨页只用一次，不做装饰。
Structure · 页面结构
结构五部分。04 过程页是现在完全没有、而课程明确要求的一块：每组核心系列一个跨页，展示选题、现场问题、选片、调色前后与反思。
The landscape and geothermal frames were made in Indonesia and Malaysia; the market being addressed is China. Plan: one series shot in China — geography or city — on the next return, sized to stand alongside Series A and B.
风光与地热题材都拍于印尼和马来西亚，而目标市场是中国。计划：回国期间拍一组中国本地的地理或城市题材，体量与 Series A、B 相当。
The course brief is explicit that employers want to see how a decision was reached. Plan: one process spread per core series — selects against rejects, grade before and after, a short reflection.
选片与调色的判断目前看不见。计划：三组核心各做一个过程跨页，放选片对比、调色前后与一段简短反思。
Plate 18 is the only one. Plan: one street or market session weekly, targeting six to eight usable frames before Week 11, to give the documentary claim a wider base.
第 18 号是目前唯一一张非摆拍的人物纪实。计划：每周一次街头或市集拍摄，Week 11 前补到 6–8 张可用，让纪实这条线站得更稳。
Plan: Assignment 2's video resume is written as a single location day, so one shoot produces both the resume and B-roll that belongs in the portfolio.
还没有动态影像。计划：Assignment 2 的脚本按"外拍一天"写，一次拍摄同时产出简历和可用 B-roll。
Content roles hire people who can write as well as shoot — a picture editor wants the place, the moment, and why it is worth looking at, inside two lines. Plan: write the fixed-format caption for all twenty plates in English and Chinese before Week 9, and use them as the source text for the exhibition PDF.
目前没有一张图配了文字。内容岗招的是既能拍也能写的人——图片编辑要的是地点、发生了什么、为什么值得看，两行之内说清。计划：Week 9 前为 20 件作品写好固定格式图注，中英双语，并直接用作最终 Exhibition 的文案来源。
| Week | Deliverable |
|---|---|
| Week 5 | Written plan submitted · series named and graded · Journal 4 |
| Week 6–7 | Video resume shot at the Media Centre · first street documentary session |
| Week 8 | Video resume and rationale delivered · LUT, export settings and naming fixed |
| Week 9–11 | Three process spreads built · street documentary set reaches six usable frames |
| Week 12–13 | Poster, 10-second GIF and exhibition PDF · five peer reviews secured |
| Jan 2027 | Digital Portfolio 2 — this structure built as a live site |
Nothing yet, and that is gap 01. But what separates a snapshot from a delivery is process, not ability: plates 06 and 07 were made in high contrast and low visibility and still hold tonal separation. What I am adding is the process — one self-set brief delivered to client standard before Week 11.
现在确实没有，这是缺口 01。但随手拍和交付之间差的是流程不是能力：06、07 两张是在高反差低能见度现场拍的。Week 11 前我会用一个自拟 brief 把流程补上。
Because the goal is employment, not exhibition. Zhang Kechun's path needs gallery representation and years of a single project; a graduate has neither. The authorial voice stays in the framing and the grade, but the portfolio is organised around deliverability — the lesson taken from Meiwen See.
因为目标是就业不是参展。张克纯那条路需要画廊代理和长期项目，应届生没有这两样。作者感留在构图和色调里，但整体按"能交付"来组织。
Correct, and I am not going to pretend otherwise. Assignment 2 is that evidence. Writing its script as a single location day means one shoot produces the resume and B-roll that earns a place in the portfolio.
对，我不会假装有。Assignment 2 就是这块证据，脚本按"外拍一天"写，一次拍摄产出两样东西。
Two things. Series C cannot be produced on demand — the heron and the snake are time, not technique, and no one can shortcut them. And I finish: the poster and the COM2217 layout show grid and type hierarchy, so I deliver to the published state, not to the folder of raw files.
两点。Series C 没法临时补，夜鹭和绿蛇靠的是时间不是技术。以及我能收尾：海报和排版作业证明我懂网格和字体层级，交的是可发布状态而不是一堆原图。
Today, travel portraiture or a personal content account — because portraits and landscapes are mixed with no hierarchy. That is exactly what this plan changes: the three core series move to the front, portraits are cut to two, and the process spreads and a single grade are added. After that the answer reads as travel and nature visual content photographer.
现在会以为我在申请旅拍或个人账号运营，因为人像和风光混在一起没有主次。这正是这份计划要改的。
Yes — shot and post-processed by me, with the two design pieces being original coursework. Any third-party asset in the final exhibition will be licensed and credited where it appears.
是。全部本人拍摄与后期，两件设计为原创课程作品；第三方素材会取得授权并标注。