{"slug":"bad-weather-good-photos","title":"如何在“坏”天气拍出好片？阴雨雾霾天拍摄思路分享！","author":"Thomas看看世界","date":"2019-11-17","wechat":"https://mp.weixin.qq.com/s?__biz=MzI4NDA5MzE5NQ==&mid=2247489768&idx=1&sn=32268fc785ae21b460c0ccad4aad1adc&chksm=eb81e68cdcf66f9a55e8ef0ae71a490397ebe38b72285603a0d7332779a8db581d26380209c3&scene=21#wechat_redirect","blocks":[{"t":"h","x":"Thomas看看世界","xe":"Thomas Chu Photo"},{"t":"p","x":"大部分摄影爱好者，都更喜欢在多云天，特别是有朝霞、晚霞、日出日落的多云天进行拍摄。","b":false,"xe":"Most photography enthusiasts prefer shooting on cloudy days — especially cloudy days with dawn glow, sunset glow, or sunrises and sunsets."},{"t":"p","x":"其实不同的天气有各自的情绪特质和画面优缺点。","b":false,"xe":"In fact, every kind of weather has its own emotional character, and its own visual pros and cons."},{"t":"p","x":"本周的教程，托马斯就会和大家分享阴天、雨天、晴天正午、雪天、雾霾天等等“坏”天气，应该如何进行拍摄！","b":false,"xe":"In this week's tutorial, Thomas will share how to shoot in 'bad' weather: overcast days, rain, sunny noons, snow, haze and more!"},{"t":"h","x":"视频教程","xe":"Video Tutorial"},{"t":"bili","bv":"BV1AJ411S7Ey","bpic":"bili-1","bt":"如何在“坏”天气拍出好片？阴雨雾霾天拍摄思路分享！"},{"t":"p","x":"这一篇是上面视频的完整图文整理。Thomas 在北京出差时遇上一连串阴天，索性把「坏天气怎么拍」讲成了一期 13 分钟的教程：正午、雾天、雾霾、阴天、雨天、雪天逐一拆解，每种天气都配他自己的成片和拍摄参数。下文按天气类型整理成五章，保留视频中的时刻索引，方便对照观看。","xe":"This is the fully illustrated companion to the video above. Stuck with a string of overcast days on a trip to Beijing, Thomas turned 'how to shoot bad weather' into a 13-minute tutorial, breaking down noon light, fog, haze, overcast, rain and snow, each with his own finished images and shooting parameters. The five chapters below keep the video's timestamps so you can follow along.","b":false},{"t":"p","x":"先看开场照：满天粉云的多洛米蒂朝霞（视频 0:28 处），是绝大多数人心目中「能出大片」的天气——色彩鲜艳、冷暖对比强、日出日落的明暗层次天然丰富。但这样的天气一年遇不到几次，正午、雾霾、阴雨才是我们大部分拍摄日的常态，它们同样各有各的拍法。","xe":"Start with the opening frame: pink clouds over the Dolomites at dawn (0:28 in the video) — the weather most people believe produces portfolio shots, with vivid color, strong warm-cool contrast and the natural light-dark layering of sunrise and sunset. But such days are rare; noon, haze and drizzle make up most of our shooting days, and each has its own playbook.","b":false},{"t":"img","f":"v01","w":640,"h":480},{"t":"h","x":"01 正午强光：色彩、故事与偏振镜","xe":"01 Harsh Noon Light: Color, Stories and a Polarizer"},{"t":"p","x":"正午顶光没有日出日落那种明暗层次，但强光会把色彩衬得极其鲜艳，所以色彩本身饱和的题材特别适合正午拍。下面这块粉橙色沙滩与皮划艇的航拍就是例子——顶光反而成了色彩的放大器（视频 1:40 处）。","xe":"Noon top light lacks the light-dark layering of sunrise and sunset, but its intensity pushes saturation to the extreme, which makes boldly colored subjects perfect for midday. The aerial below — kayaks on a pink-orange sand beach — is exactly that: harsh light acting as a color amplifier (1:40 in the video).","b":false},{"t":"img","f":"v02","w":640,"h":480},{"t":"p","x":"正午也适合去「等故事」。这张澳大利亚西部小镇的街景，是 Thomas 去给华为手机拍样片时的作品：阳光直刷刷地照下来，他把手机固定好，等街上骑车的人走进画面，用一个决定性的瞬间填补平淡的光线（视频 2:21 处）。有了有意思的场景，观者就不会觉得画面无聊。","xe":"Noon is also the time to 'wait for a story'. This small-town street in Western Australia was shot while Thomas was producing sample photos for a Huawei phone: with sunlight falling straight down, he fixed the phone in place and waited for a cyclist to ride into the frame — a decisive moment to redeem the flat light (2:21 in the video). An interesting scene keeps the viewer from ever getting bored.","b":false},{"t":"img","f":"v03","w":640,"h":480},{"t":"p","x":"偏振镜是晴天正午的利器：它滤掉偏振反光，把蓝天、秋叶和岩石的色彩再渲染一层，早上 11 点的教堂秋色（视频 3:19 处）就是这么拍的。另外别忘了用前景制造层次——草地、教堂、森林、雪山、云依次排开，即使明暗对比弱，质感与形态的区分也足以撑起纵深感（视频 3:24 处）。","xe":"A polarizer is the noon shooter's best friend: it cuts polarized reflections and adds another layer of saturation to blue sky, autumn foliage and rock — like this church in fall color captured around 11 a.m. (3:19 in the video). And remember to build depth with foregrounds: meadow, church, forest, snowy peaks and clouds stacked in sequence — even with weak light-dark contrast, differences in texture and form carry the sense of depth (3:24 in the video).","b":false},{"t":"img","f":"v04","w":640,"h":480},{"t":"h","x":"02 雾天：神秘氛围与空气透视","xe":"02 Fog: Mystery and Atmospheric Perspective"},{"t":"p","x":"雾天的关键词是情绪。晴天适合童话感，满天红霞适合魔幻感，而雾天天然带着神秘——电影里的凶案很少发生在大白天，多半起雾下雨。在雾天硬拍梦幻是徒劳的，顺着神秘、安静、悬疑的情绪走反而容易出片（视频 4:42 处）。在德国雷根斯堡，大雾把背景的教堂隐成朦胧剪影，石桥上路灯亮起，骑车人的车灯在雾中游走，一张异域电影感的照片就成了（视频 5:03 处）。","xe":"The keyword for fog is mood. Sunny days suit fairy tales, glowing sunsets suit fantasy, and fog carries mystery by default — in movies, murders rarely happen in broad daylight; they happen in fog and rain. Trying to force dreamy shots in fog is futile; follow its mysterious, quiet, suspenseful mood instead (4:42 in the video). In Regensburg, Germany, heavy fog reduced the cathedral behind to a hazy silhouette while lamps lit up on the stone bridge and cyclists' headlights drifted through the mist — an instantly cinematic, foreign-looking frame (5:03 in the video).","b":false},{"t":"img","f":"v05","w":640,"h":480},{"t":"p","x":"雾天的第二件礼物是空气透视：前景清晰，越远越朦胧，景物被雾一层层推开，这种层次分离感是晴天给不了的。下面这张雾中街道沿纵深不断延伸，远景在雾里越来越暗、越来越虚（视频 6:00 处）；它的色彩和影调虽然平淡，但清晨安静的氛围本身就是主题（视频 6:29 处）。若恰好赶上云开雾散，朦朦胧胧地看景物，也非常舒服。","xe":"Fog's second gift is atmospheric perspective: the foreground stays sharp while everything farther away fades layer by layer into the mist — a degree of tonal separation clear weather can never offer. In the foggy street below, the road recedes into depth as the far end grows darker and softer in the mist (6:00 in the video); its color and tone are plain, but the hush of early morning is the subject itself (6:29 in the video). And when the fog happens to lift, glimpsing scenes half-veiled has a pleasure of its own.","b":false},{"t":"img","f":"v06","w":640,"h":480},{"t":"h","x":"03 大雾与雾霾：极简画布","xe":"03 Heavy Fog and Haze: A Minimalist Canvas"},{"t":"p","x":"真正伸手不见五指的大雾天也能拍。那次等日出，雾突然起来，朋友们都收起脚架回去睡觉，Thomas 却发现雾把远处的雪山全部隔断，只留下五米外的一块石头——背景干净得像画布。再叠加长曝光把雾和水揉化：画面卡片上标注的海大 NanoPro ND8 其实标错了，实际用的是 ND1000 级别的减光镜，慢门之下雾气如纱，石头的纹理、质感和色彩被完全凸显出来（视频 6:59 至 7:49 处）。","xe":"Even pea-soup fog is shootable. Waiting for a sunrise one morning, fog rolled in thick and his friends packed up their tripods and went back to sleep — but Thomas noticed the fog had cut off the distant snow mountains entirely, leaving only a rock five meters away, with a background as clean as a blank canvas. He added a long exposure to smear the fog and water: the caption on screen reading Haida NanoPro ND8 is actually a mistake — the real filter was an ND1000-class solid ND, and under the slow shutter the mist turned to gauze while the rock's texture and color stood out completely (6:59-7:49 in the video).","b":false},{"t":"img","f":"v07","w":640,"h":480},{"t":"p","x":"雾霾天还可以拍得更「观念」一些：荒诞、疏离、孤独。海滩上两个互相拍照的游客和一个隐隐约约的垃圾桶，构图故意别致——地景只压一条边，大面积留给灰白的天空，用极简的负空间表现人在雾霾里的渺小与隔离感（视频 7:57 处）。黄山这张则是利用雾霾天气拍沉浸式的干净场景（视频 8:36 处）。抓住雾霾天的情绪特征、因地制宜地拍摄，它就不是废天。","xe":"Haze also invites more conceptual photography: the absurd, the estranged, the lonely. Two tourists photographing each other on a beach, a faintly visible trash bin — the composition is deliberately offbeat, with the land squeezed into a single strip at the frame's edge and most of the image given to a gray-white sky, using minimalist negative space to express how small and isolated people are in the murk (7:57 in the video). The Huangshan shot uses haze for an immersive, stripped-down scene (8:36 in the video). Read the emotional character of hazy weather and shoot accordingly, and it is a wasted day no more.","b":false},{"t":"img","f":"v08","w":640,"h":480},{"t":"img","f":"v09","w":640,"h":480},{"t":"h","x":"04 阴天柔光：海景与冰山的极简","xe":"04 Overcast Soft Light: Minimal Seascapes and Icebergs"},{"t":"p","x":"阴天是 Thomas 很喜欢的天气：柔光没有杂乱的明暗反差，最适合极简。晴天拍海全是波纹，阴天才能拍出干净如镜的海面（视频 8:55 处）；冰山更是如此——晴天水面反射光太强，根本看不到水下的冰体，阴天的柔和光线才能把冰山透出来（视频 9:17 处）。阴天也可以靠构图和层次找亮点，把柔光与寒冷氛围表达足，缺点就被盖过去了（视频 9:33 处）。","xe":"Overcast is a weather Thomas genuinely enjoys: soft light without messy contrast is tailor-made for minimalism. In sunshine the sea is all ripples; only under an overcast sky can the water read clean and mirror-flat (8:55 in the video). Icebergs even more so — strong surface reflections in sunlight hide the ice below the waterline, while overcast's soft light reveals it (9:17 in the video). Overcast days also reward good composition and layering: express the soft light and cold atmosphere fully, and the shortcomings disappear (9:33 in the video).","b":false},{"t":"img","f":"v10","w":640,"h":480},{"t":"p","x":"阴雨天的天空常是一片死白，扬长避短的思路是「遮」：用前景把天空挡掉。这张湖畔古堡用秋色的树叶压住天空，树叶又与石上的落叶、古堡的暖色相互呼应，阴雨天的短板变成了画面的结构（视频 10:47 处）。而雪山配雾气是另一条路——阴雨天自带的神秘感，大晴天反而拍不出来（视频 9:53 处）。","xe":"A rainy sky is often a sheet of dead white, and the workaround is to block it: hide the sky behind a foreground. For this lakeside castle, autumn leaves press down over the sky and echo the fallen leaves on the rocks and the warm tone of the castle — the weakness of rainy weather becomes the structure of the frame (10:47 in the video). Fog-wrapped mountains take the other route: the mystery rain and overcast bring is something a bright sunny day simply cannot produce (9:53 in the video).","b":false},{"t":"img","f":"v11","w":640,"h":480},{"t":"h","x":"05 雨雪天与蓝调：任何天气都能出片","xe":"05 Rain, Snow and the Blue Hour: Any Weather Works"},{"t":"p","x":"雨天适合渲染迷茫、深沉、悲哀的情绪，而且毫无器材门槛——打伞的行人就是用小米 6 手机拍的，能限制我们的只有感知力、想象力和观察力（视频 11:18 处）。下面这张雨天山路，原图非常平淡，但路的形态和远处的雾气值得记录，最后转成黑白，别有氛围（视频 11:34 处）。雪天则天然适合极简、疏离与孤寂的表达（视频 11:55 处）。","xe":"Rain lends itself to moods of bewilderment, depth and sorrow — and it has zero gear threshold: the walker under an umbrella was shot on a Xiaomi 6 phone, because the only things that limit us are perception, imagination and observation (11:18 in the video). The rainy mountain road below is plain as an original file, but the road's shape and the distant mist deserved recording, and a final conversion to black and white gives it a mood of its own (11:34 in the video). Snow, meanwhile, is a natural fit for minimalism, estrangement and solitude (11:55 in the video).","b":false},{"t":"img","f":"v12","w":640,"h":480},{"t":"p","x":"最后是 Thomas 给出的「万能保险」：蓝调时刻。无论晴天雨天雪天，太阳落下后 20-30 分钟，天空已经变蓝又还没全黑，城市小镇的灯光亮起，天然自带冷暖对比和明暗对比，任何天气都 100% 能出片（视频 12:16 处）。新加坡滨海湾的蓝调无云日落（视频 3:43 处）和格陵兰雪夜的彩色小屋，都是例证。","xe":"Finally, Thomas's all-weather insurance: the blue hour. In any weather — clear, rainy or snowy — 20 to 30 minutes after sunset the sky has turned blue but not yet black, town and city lights come on, and the scene carries natural warm-cool and light-dark contrast, guaranteed to work 100% of the time (12:16 in the video). A cloudless blue hour over Singapore's Marina Bay (3:43 in the video) and colorful houses on a snowy Greenland night are the proof.","b":false},{"t":"img","f":"v13","w":640,"h":480},{"t":"img","f":"v14","w":640,"h":480},{"t":"quote","x":"1. 没有坏天气，只有没被读懂的天气——先识别每种天气的情绪特质，再扬长避短；2. 正午靠强光凸显色彩、等决定性瞬间、加偏振镜；雾天拍神秘与空气透视，大雾雾霾做极简画布配长曝光；3. 阴天柔光适合海景冰山的极简，阴雨天用前景遮挡死白的天空；4. 实在没有灵感，就等蓝调时刻——任何天气都 100% 出片。","xe":"1. There is no bad weather, only weather you haven't learned to read — identify each weather's emotional character first, then play to its strengths; 2. At noon, let harsh light saturate color, wait for the decisive moment, and add a polarizer; shoot mystery and atmospheric perspective in fog, and turn heavy fog and haze into a minimalist canvas with long exposures; 3. Overcast soft light is made for minimal seascapes and icebergs; in rain, block the dead white sky with foregrounds; 4. Out of ideas? Wait for the blue hour — it works in any weather, 100% of the time."},{"t":"h","x":"欢迎关注托马斯的旅行与摄影攻略","xe":"Follow Thomas for more travel and photography tips"}],"titleEn":"How to Take Great Photos in 'Bad' Weather: Ideas for Rain, Haze and Fog"}