{"slug":"bw-landscape-conversion","title":"如何把平淡风景，调成黑白大片","author":"Thomas看看世界","date":"2017-05-24","wechat":"https://mp.weixin.qq.com/s?__biz=MzI4NDA5MzE5NQ==&mid=2247485527&idx=1&sn=d09a12bbc14fdcc70c13035b2907e954&chksm=eb81f633dcf67f250a159b40638a4f4dcbab97ae8354cf48ea2ec3003357ee793238fb4416e2&scene=21#wechat_redirect","blocks":[{"t":"p","x":"Damon老师这篇文章，是一篇很详尽的黑白后期教程，不仅分享了样片的后期处理过程，还分析了哪些照片适合转换成黑白，前期拍摄时有哪些注意事项。","b":false,"xe":"This article by Damon is a thorough black-and-white post-processing tutorial: it not only walks through the editing of a sample photo, but also analyzes which photos suit B&W conversion and what to watch for when shooting."},{"t":"img","f":"img-02","w":640,"h":426},{"t":"p","x":"那我们先来看一下原图：","b":false,"xe":"Let's first look at the original image:"},{"t":"img","f":"img-03","w":640,"h":425},{"t":"p","x":"这里我们首先需要讲一下什么照片适合转化成黑白照片：","b":false,"xe":"First, we need to talk about which photos suit B&W conversion:"},{"t":"h","x":"什么照片适合转化成黑白","xe":"Which Photos Suit B&W Conversion"},{"t":"p","x":"1.色彩不够丰富，色调单一，也就是说在色彩上没有抓人眼球的地方。","b":false,"xe":"1. Colors aren't rich and the palette is monotone — nothing in the color grabs the eye."},{"t":"p","x":"2.色彩过于杂乱，摄影讲究的是简约美，颜色过于杂乱会分散观看者的注意力。","b":false,"xe":"2. Colors are overly messy. Photography prizes simplicity; chaotic colors distract the viewer."},{"t":"p","x":"3.HDR处理过的照片，这些照片有很丰富的细节，更加容易把明度发挥到极致，反而光比比较大的场景就不利于多层次的展现。","b":false,"xe":"3. HDR-processed photos. These have rich detail and can push tonal range to the extreme, whereas scenes with very high contrast are unfavorable for multi-layered rendering."},{"t":"p","x":"4.长曝光的照片，过曝的云或者过曝的流水。虽然是过曝了但是转换成黑白以后不但不但不会显得不自然，反而能突出动态的效果。","b":false,"xe":"4. Long exposures — blown-out clouds or water. Although overexposed, they don't look unnatural in B&W; instead the conversion emphasizes the sense of motion."},{"t":"h","x":"那我们再看一眼原图：","xe":"Now let's look at the original again:"},{"t":"p","x":"1、原图中很明显色彩不吸引人，而且非常单一，只有草、树、船是黄色的，水面还有部分树是绿色的，船上的人物有一点点红。","b":false,"xe":"1. The colors are clearly unattractive and very monotone: only the grass, trees, and boat are yellow, part of the water and trees are green, and the figure on the boat has a touch of red."},{"t":"p","x":"2、水面的反光以及天空过曝没有细节且非常扎眼。","b":false,"xe":"2. The reflections on the water and the sky are blown out — detail-less and harsh on the eyes."},{"t":"p","x":"3、但是整张图的细节比较丰富，直方图没有溢出，曝光略微向右。","b":false,"xe":"3. But the image overall is rich in detail; the histogram isn't clipped, and exposure sits slightly to the right."},{"t":"img","f":"img-04","w":580,"h":332},{"t":"p","x":"这样的照片作为彩色照片是平淡无奇的，但确实满足我们之前说的转化成黑白照片的几种情况。","b":false,"xe":"As a color photo this is unremarkable, but it does fit several of the B&W-conversion cases we mentioned."},{"t":"h","x":"不适合转化成黑白的情况","xe":"Cases NOT Suited to B&W Conversion"},{"t":"p","x":"那就是图本身有强烈的颜色对比，但是缺乏亮度和明度对比的。说的再具体一点，就是画面中互补色相对多的画面不适合转成黑白照片。","b":false,"xe":"That is, images with strong color contrast but lacking brightness and tonal contrast. More specifically: frames dominated by complementary colors aren't suited to B&W."},{"t":"p","x":"（啥是互补色：就是下面色轮中，呈180夹角的两种颜色）","b":false,"xe":"(What are complementary colors? Two colors 180° apart on the color wheel below.)"},{"t":"img","f":"img-05","w":568,"h":402},{"t":"p","x":"高饱和度的蓝/橙，红/绿，黄/紫这种互补色关系，会在黑白照片中出现灰度非常接近的深灰色，所以这一类照片在没有做色相改变之前，不适合做成黑白照片，以后拍摄的过程中大家应该避免这类黑白转换。","b":false,"xe":"Highly saturated complementary pairs — blue/orange, red/green, yellow/purple — turn into very similar dark grays in B&W. So unless you change the hues first, this kind of photo shouldn't be converted; avoid this type of conversion when shooting too."},{"t":"p","x":"我们现在再看一眼我们的原图，大部分颜色区域集中在“黄--黄绿--绿”这个颜色区域，我们转换成黑白照片后反差细节就出来了，而红色的人物和黄绿色的船体因为是互补色，转换后灰色就揉在了一起。","b":false,"xe":"Looking at our original again: most colors cluster in the \"yellow–yellow-green–green\" range, so contrast and detail emerge after conversion, while the red figure and the yellow-green boat — being complementary — mash into the same gray."},{"t":"h","x":"说一说前期的拍摄","xe":"A Word on Shooting"},{"t":"p","x":"按照亚当斯的理论，一张好的风光作品，里面应该包含11个不同灰度区域的层次，指的就是由黑到白的11个阶梯，拥有更多层次的作品会更加耐看。由于色彩本身会对光影产生一定的干扰，因此，我们处理成黑白之后，可以更好地专注于作品的影调。","b":false,"xe":"According to Adams' theory, a good landscape image should contain 11 distinct gray zones — the 11 steps from black to white; the more zones, the more it rewards viewing. Since color itself interferes with light and shadow, converting to B&W lets us focus better on tonal gradation."},{"t":"h","x":"1、请使用RAW格式，为后期留出空间","xe":"1. Shoot RAW to leave room for post"},{"t":"p","x":"不要使用相机自带的黑白模式拍一张JPEG格式。","b":false,"xe":"Don't shoot JPEG with the camera's built-in B&W mode."},{"t":"p","x":"为什么，因为相机内提供的那种预设并不一定是我们想要的，而RAW格式记录下来了全部的色温，色相，色调，饱和度，LR和PS可以对每一种颜色进行改变，这些信息最后都能用于灰度来体现差别，这些细微的差别为你提供千变万化的黑白照片。","b":false,"xe":"Why? Because the camera's presets aren't necessarily what we want, while RAW records all the color temperature, hue, tone, and saturation data. Lightroom and PS can alter each color, and all that information ultimately differentiates the grays — those subtle differences give you endlessly variable B&W photos."},{"t":"p","x":"退一万步来说，如果你对于黑白照片的调色调整实在没有把握，那么后期中我们还可以直接套滤镜，现在PS和LR的各种插件给我们提供了很多预设，我们可以选一个自己喜欢的套上也不错，事实上我就是套上滤镜然后修改部分参数。","b":false,"xe":"Worst case, if you're really unsure about toning a B&W image, you can just apply a filter preset in post — PS and LR plugins offer plenty; pick one you like. In fact, that's what I do: apply a filter, then tweak some parameters."},{"t":"p","x":"不过你可以在相机RAW格式的模式下，开启黑白预设，这样你拍出的照片依然拥有色彩信息，但是在你的相机显示屏里可以预览到黑白照片。","b":false,"xe":"You can, however, enable the B&W preset while shooting RAW: the file keeps all color information, but your camera's LCD previews the shot in black and white."},{"t":"h","x":"2、敢于用高感光度","xe":"2. Dare to Use High ISO"},{"t":"p","x":"众所周知，低感光度可带来良好的画质，所以在条件允许的情况下尽可能的使用低感光度吧。但如果拍摄环境的明亮度不够，可以适当提高感光度，要知道有些人还喜欢在后期中加强黑白照片的颗粒感呢。","b":false,"xe":"Everyone knows low ISO gives good image quality, so use the lowest ISO conditions allow. But if the scene is too dark, raise the ISO as needed — some people even add grain to B&W photos in post."},{"t":"img","f":"img-06","w":640,"h":426},{"t":"p","x":"这张照片大概ISO有6400，但是也没有关系，反而有点马格南的感觉。","b":false,"xe":"This shot is around ISO 6400 — no problem; it even has a bit of a Magnum feel."},{"t":"h","x":"3. 构图和拍摄时机","xe":"3. Composition and Timing"},{"t":"p","x":"黑白照片的兴趣点就必须更加突出。虽然色调单一，但是好的光线更能将观众带入到摄影师想要呈现的意境中。多选有云的好天气：秋高气爽的季节，在太阳侧光的时候拍摄风光会比晴天的中午有更多的惊喜，太阳在45度角的时候物体会呈现出更多的细节和色彩。","b":false,"xe":"A B&W photo's point of interest must stand out even more. Though the palette is flat, good light better draws viewers into the mood the photographer intends. Choose cloudy-weather days: in crisp autumn air, shooting landscapes with the sun at the side brings more surprises than at noon on a clear day; with the sun at 45°, objects reveal more detail and color."},{"t":"p","x":"构图在黑白摄影中非常重要，所以黑白摄影更加考验摄影师基本功的。大家可以使用经典的三分法构图，或者运用画面中的点、线进行合理构图。初学者可以由简入手，慢慢地再将更多的元素纳入拍摄范围。","b":false,"xe":"Composition matters enormously in B&W photography — it tests a photographer's fundamentals. Use the classic rule of thirds, or compose with points and lines in the frame. Beginners can start simple and slowly include more elements."},{"t":"p","x":"那么好的构图是怎么出来的，其实是等出来的，我看到这个船划过来的时候就一直盯着他拍，一直等到他到达一个合适的位置。","b":false,"xe":"And how does a good composition happen? You wait for it. When I saw this boat rowing over, I kept shooting it until it reached just the right position."},{"t":"img","f":"img-07","w":640,"h":333},{"t":"h","x":"4.留意光线","xe":"4. Watch the Light"},{"t":"p","x":"因为黑白只能靠光暗位置来表达图画，我们拍摄时要留意光线的方向和力度，这张照片就是在太阳落下去的时候拍的，所以光线不会很硬，远山和中景的树的立体感也会比太阳在头顶上的时候更加好。一般来说，正面光经常能增加画面的对比度；侧光则易于展现物体的纹理（尤其在人像中刻画容貌的细节）；来自单一方向的光线则能创造阴影。","b":false,"xe":"Since B&W can only express the picture through light and dark, pay attention to the light's direction and strength when shooting. This photo was taken as the sun was setting, so the light isn't harsh, and the distant mountains and midground trees have more dimension than with the sun overhead. Generally, front light increases contrast; side light reveals texture (especially facial detail in portraits); light from a single direction creates shadows."},{"t":"h","x":"5.寻找图案和纹理","xe":"5. Look for Patterns and Textures"},{"t":"p","x":"彩色相片中，因为颜色容易抢去焦点，所以图案和纹理常常被忽视，而好的黑白相片其中一个元素便是表达出独特的图案和纹理，各位可以多试试！","b":false,"xe":"In color photos, color steals the focus, so patterns and textures are often overlooked. One element of a good B&W photo is expressing distinctive patterns and textures — give it a try!"},{"t":"p","x":"轮廓与纹理在彩色摄影中往往并不明显（色彩会分离画面的注意力），但是在黑白摄影中，轮廓与图案往往会获得突出、精炼的描绘。","b":false,"xe":"Outlines and textures are often inconspicuous in color photography (color splits the viewer's attention), but in B&W they tend to receive a sharper, more refined rendering."},{"t":"h","x":"6.带上三脚架","xe":"6. Bring a Tripod"},{"t":"p","x":"各位新手拍摄黑白风景照时可以为相片加入一项元素 ——动态！其实便是移动中的云或水，因为云或水是白色的，会产生白色的画面，移动中的云和水会带来一层层的光和暗位，立时令黑白相片生动起来！","b":false,"xe":"Beginners shooting B&W landscapes can add one element — motion! That is, moving clouds or water: since clouds and water are white, they produce bright areas, and their movement creates layers of light and dark that instantly bring a B&W photo alive!"},{"t":"h","x":"后期流程","xe":"Post-Processing Workflow"},{"t":"h","x":"1.首要任务，检查直方图","xe":"1. First task: check the histogram"},{"t":"img","f":"img-08","w":568,"h":298},{"t":"h","x":"2、分析直方图","xe":"2. Analyze the histogram"},{"t":"p","x":"A.我们可以观察到，这张原始直方图有一些微微过曝，这是我佳能拍摄的一个习惯。因为我还拿着5D2在拍摄，这个相机的宽容度不怎么样，暗部细节恢复非常有难度，所以我的拍摄习惯是微微过曝一点点，但是大家可以看到，直方图的右侧并没有出现切割，也就是说天空其实也没有过曝，要是天空有细节，我们理论上也是能够恢复出来的。如果你是尼康用户可以微微向左曝光，前提是保证直方图不溢出。","b":false,"xe":"A. We can see the original histogram is slightly overexposed — a habit of mine when shooting Canon. I still shoot with a 5D Mark II, whose dynamic range isn't great; recovering shadow detail is very difficult, so my habit is slight overexposure. But note the histogram's right side isn't cut off — the sky isn't actually blown, and if the sky had detail we could theoretically recover it. Nikon users can expose slightly left instead, provided the histogram doesn't clip."},{"t":"p","x":"B、我们可以看到原图的高光部分占据了大量像素，观察原图发现高光部分是大面积的水面反光和一部分天空。后期我们要重点针对高光做修复。","b":false,"xe":"B. The highlights occupy a huge number of pixels — checking the image, they're the large water reflections and part of the sky. Highlight recovery will be a priority in post."},{"t":"p","x":"这张黑白照片我们可以在“原有调子的情况下”尽可能的平均分布直方图，也就是说在lightroom中“黑色色阶、阴影、曝光度、高光、白色色阶”要平衡，保证每个区域的像素不会相差太多。平均分布的直方图会让黑白照片层次分布非常丰富。","b":false,"xe":"For this B&W photo, we want to distribute the histogram as evenly as possible within the existing tones — in Lightroom, balance Blacks, Shadows, Exposure, Highlights, and Whites so pixel counts across zones don't differ too much. An even histogram gives a B&W photo very rich tonal layering."},{"t":"img","f":"img-09","w":432,"h":246},{"t":"p","x":"C、中间调部分（曝光值）过度很好，我们只需要加强微反差就好","b":false,"xe":"C. The midtones (Exposure) transition well — we only need to enhance micro-contrast."},{"t":"p","x":"D、阴影和黑色色阶像素缺乏。","b":false,"xe":"D. Shadows and Blacks pixels are lacking."},{"t":"p","x":"E、最右侧的那个凸起是天空部分，在画面中面积不大，主要是因为天气太差，没有任何细节，所以我们放弃调整.","b":false,"xe":"E. The bump at the far right is the sky; it occupies little of the frame, and the weather was too bad for any detail, so we'll give up on it."},{"t":"p","x":"F、这张照片用了ISO200，在暗部会产生一些噪点，后期需要加入一些去噪环节","b":false,"xe":"F. This photo used ISO 200, which produces some noise in the shadows — a denoise step is needed in post."},{"t":"h","x":"请看处理过后黑白照片的直方图：","xe":"Now look at the histogram after processing:"},{"t":"img","f":"img-10","w":564,"h":334},{"t":"p","x":"是不是很平均，基本符合正态分布，右侧那片一个凸起是天空部分，因为真的是没有细节了放弃调整。","b":false,"xe":"Pretty even, right — basically a normal distribution. The bump on the right is the sky; there's truly no detail, so we gave up on it."},{"t":"h","x":"3、黑白照片的转换方式","xe":"3. Ways to Convert to B&W"},{"t":"p","x":"我们在转换黑白照片之前先说两种错误的方式：","b":false,"xe":"Before converting, two wrong approaches:"},{"t":"p","x":"1.直接使用减低饱和度去色。经过上面的讲解，我们知道了，我们就是要用HSL来控制灰度的反差，直接把饱和度干掉了，我们的RAW也就白拍了","b":false,"xe":"1. Desaturating directly. From the explanation above, we know we want HSL to control gray contrast — kill saturation outright and our RAW was shot for nothing."},{"t":"p","x":"2.“图像-模式-灰度” 来丢掉色彩信息。这项显然也是错误的，因为色彩信息没有了我们就失去了对后期的控制力。","b":false,"xe":"2. \"Image → Mode → Grayscale\" to discard color information. Obviously wrong too — without color information we lose control in post."},{"t":"p","x":"所以我认为这样的或者类似的“去色”方法是不够的。","b":false,"xe":"So I think these and similar \"desaturation\" methods aren't enough."},{"t":"p","x":"那么我建议大家使用lightroom里面黑白混合工具来实现黑白转换，看图。","b":false,"xe":"Instead, I recommend Lightroom's B&W panel for the conversion. See the image."},{"t":"img","f":"img-11","w":562,"h":468},{"t":"p","x":"我们可以用鼠标点这里的黑白或者按“V”键来实现转换，那么这样的转换的好处在于我们能够控制不同的色相在黑白转换时的亮度。","b":false,"xe":"Click \"Black & White\" here or press \"V\" to convert. The benefit: we can control how bright each hue becomes in the B&W conversion."},{"t":"p","x":"Lightroom中我们通过V键在“彩色”和“黑白”之间切换。V键是一个很实用的快捷键，我也希望大家把他记住，你在“黑白”模式下经过了一系列的调整，按V键切换回“彩色”模式的时候你在“黑白”界面下做的调整依然被记录在lightroom中，当你下一次再按V键切换回“黑白”模式时，你可以继续上一次的调整。这就对颜色把控没有那么好的小伙伴们提供了便利，可以随时切换回彩色模式，观察色彩以后再对需要调整的颜色进行调节。","b":false,"xe":"In Lightroom, the V key toggles between \"Color\" and \"Black & White.\" It's a very practical shortcut worth remembering: after a series of adjustments in B&W mode, pressing V back to Color keeps your B&W adjustments recorded in Lightroom — next time you press V again, you continue where you left off. That's convenient for those less confident with color: switch back to Color anytime, check the colors, then adjust whichever needs it."},{"t":"p","x":"还有一种转换方式就是在PS里面直接套silver efex pro里面的黑白滤镜，这个滤镜是nik collection里面的一个黑白滤镜，现在nik这个插件已经全部免费了。","b":false,"xe":"Another way: apply the Silver Efex Pro B&W filter directly in PS — it's part of the Nik Collection, which is now completely free."},{"t":"p","x":"这个方法比较偷懒，但是我个人比较喜欢的方法，我的操作流程是先进PS试试黑白滤镜，如果没有满意的再回到Lightroom中黑白转换工具手动调节，这样会比较节省时间。","b":false,"xe":"It's the lazy method, but my personal favorite. My workflow: try the B&W filters in PS first; if none satisfies, go back to Lightroom's B&W panel for manual adjustment. That saves time."},{"t":"img","f":"img-12","w":244,"h":528},{"t":"h","x":"实际操作","xe":"Hands-On"},{"t":"h","x":"第一步我们习惯性的先镜头矫正","xe":"Step one: lens corrections, as always."},{"t":"img","f":"img-13","w":550,"h":650},{"t":"p","x":"这里我们直接使用自动就行，自动不是万能的，大家可以先尝试自动，如果不行再进行手动调节。","b":false,"xe":"Just use Auto here — Auto isn't a panacea; try it first and adjust manually if it fails."},{"t":"h","x":"第二步，配置文件选择选择风光","xe":"Step two: choose the Landscape profile."},{"t":"img","f":"img-14","w":562,"h":684},{"t":"p","x":"这些其实都是个人习惯，我觉得佳能自带的风光模式还不错，所以也会先选择套用试试看。","b":false,"xe":"These are personal habits — I think Canon's built-in Landscape mode is decent, so I try it first."},{"t":"h","x":"第三步 调节基础面板","xe":"Step three: adjust the Basic panel."},{"t":"p","x":"使直方图尽量平均分布，这里我一般所有照片都差不多，主要就调整“曝光值、阴影、高光、阴影、白色色阶、黑色色阶”这六个参数地点值，“清晰度，鲜艳度，和饱和度”这三个值不动，留着进入PS后调整。","b":false,"xe":"Make the histogram as even as possible. I do roughly the same for all photos: mainly adjust the six values — Exposure, Shadows, Highlights, Whites, Blacks — and leave Clarity, Vibrance, and Saturation untouched for PS."},{"t":"img","f":"img-15","w":640,"h":343},{"t":"p","x":"在调节的过程中要注意观察直方图，保证高光和暗部都不溢出，可以打开溢出报警。溢出报警就是直方图上边左右两个小三角。","b":false,"xe":"Watch the histogram while adjusting to keep highlights and shadows from clipping — you can turn on the clipping warnings, the two little triangles at the top corners of the histogram."},{"t":"h","x":"第四步","xe":"Step four"},{"t":"p","x":"略微提高船内人物的明亮度。船里面的人物曝光明显不足，反差也不够大。这里是前景，也是兴趣点，而且在色彩上，我之前说过了，转换成黑白以后会和周围环境灰度比较接近。","b":false,"xe":"Slightly brighten the figure inside the boat. The figure is clearly underexposed with weak contrast. This is the foreground and the point of interest — and as I said, its color will convert to a gray close to the surroundings."},{"t":"img","f":"img-16","w":550,"h":458},{"t":"h","x":"第五步 点击图像右键-在photoshop中打开","xe":"Step five: right-click the image → Edit In → Photoshop."},{"t":"p","x":"使用seliver efex pro的滤镜把图片转化为黑白","b":false,"xe":"Use Silver Efex Pro to convert the image to B&W."},{"t":"p","x":"我这里选择的是024这个滤镜","b":false,"xe":"I chose preset 024."},{"t":"img","f":"img-17","w":640,"h":379},{"t":"p","x":"这里面滤镜有很多大约有38种，非常直观，大家可以试试看哪个更加合适你的照片。","b":false,"xe":"There are about 38 presets — very intuitive; try which suits your photo."},{"t":"h","x":"第六步","xe":"Step six"},{"t":"p","x":"创建亮度蒙版中的中间调蒙版。","b":false,"xe":"Create a midtones luminosity mask."},{"t":"img","f":"img-18","w":640,"h":353},{"t":"p","x":"如果对亮度蒙版不了解的朋友们也不要急，现在都有插件（比如TK Panel，雪人面板）以及很多免费动作可以建立，基本做到了一键搞定。","b":false,"xe":"Don't worry if you're unfamiliar with luminosity masks — plugins (like the TK Panel and StarsTail panel) and many free actions build them in one click."},{"t":"h","x":"第七步","xe":"Step seven"},{"t":"p","x":"对中间调拉S曲线，然后加一个Nik色调对比滤镜继续加强对比。","b":false,"xe":"Pull an S-curve on the midtones, then add a Nik Tonal Contrast filter to further boost contrast."},{"t":"img","f":"img-19","w":640,"h":425},{"t":"p","x":"就像这样一个曲线，因为有蒙版的保护，所以那么极端的曲线也会有很好的过度效果。","b":false,"xe":"A curve like this — protected by the mask, even such an extreme curve transitions nicely."},{"t":"p","x":"色调对比也是一个nik 里面的一个插件，用来增加调子对比度，增加对比度的同时也会增加锐度。可以查看教程《增强照片细节 - Nik色调对比滤镜详解》","b":false,"xe":"Tonal Contrast is another Nik plugin that increases tonal contrast — and sharpness along with it. See the tutorial \"Enhancing Photo Detail: Nik Tonal Contrast Filter Explained.\""},{"t":"img","f":"img-20","w":640,"h":383},{"t":"p","x":"到这里，大致的调子就已经出来了，就那么简单~！！！现在我们再来看直方图。除了我们之前放弃的天空部分一军突起，其他部分的直方图非常平均。","b":false,"xe":"By now the overall tonality is there — that simple!!! Look at the histogram again: apart from the sky we abandoned sticking out, everything else is very even."},{"t":"h","x":"第八步","xe":"Step eight"},{"t":"p","x":"因为我们之前做了对比度的增加，增加了对比度其实也同时增加了锐度。那我们这里一些区域加一点点柔化，让片子增加一些虚实对比。那我们这里继续用NIK插件。","b":false,"xe":"Since we increased contrast — which also increases sharpness — let's soften some areas slightly to add a sharp-versus-soft contrast. We'll continue with a Nik plugin."},{"t":"img","f":"img-21","w":640,"h":377},{"t":"p","x":"我这里用的是经典柔焦滤镜（教程《后期柔焦效果 - 让你的照片更加朦胧梦幻》）。然后按住ALT点击蒙版给图层加一个黑色蒙版。","b":false,"xe":"I'm using the Classical Soft Focus filter (see the tutorial \"Soft Focus in Post: Make Your Photos Dreamier\"). Then hold Alt and click the mask icon to add a black mask."},{"t":"p","x":"调节笔刷，大概在20%-25%的不透明度和流量来擦出想要柔化的地方。要记住，柔化的同时其实也是微微的增加了亮度。","b":false,"xe":"Set the brush to about 20–25% opacity and flow, and paint where you want softening. Remember: softening also slightly raises brightness."},{"t":"p","x":"这里远山，水面上面的比较亮的草，还有下部的水面可以柔化一下。","b":false,"xe":"Here, the distant mountains, the brighter grass on the water, and the lower water surface can be softened."},{"t":"p","x":"千万不要涂抹到有细节的树，船，还有水面的波纹，这都是我们之前需要锐化加强的地方。","b":false,"xe":"Whatever you do, don't paint over the detailed trees, the boat, or the ripples — those are exactly the areas we sharpened earlier."},{"t":"p","x":"我们还可以调节一下蒙版的不透明度和羽化增加一下过度。","b":false,"xe":"You can also adjust the mask's opacity and feather for smoother transitions."},{"t":"p","x":"双击蒙版会出现设置框：","b":false,"xe":"Double-click the mask to open its settings:"},{"t":"img","f":"img-22","w":640,"h":490},{"t":"p","x":"前景的船细节不够，我们建立一个曲线调整图层提亮一些，然后小心的用蒙版把船体部分擦出来。","b":false,"xe":"The foreground boat lacks detail: create a Curves adjustment layer to brighten it, then carefully paint the hull back in with the mask."},{"t":"img","f":"img-23","w":640,"h":427},{"t":"p","x":"最后我们适当的去噪，然后锐化输出，整张图的处理过程就结束了。","b":false,"xe":"Finally, denoise appropriately, sharpen for output — and the whole process is done."},{"t":"p","x":"最后我们说一下这张图我们不满意的地方，首先是天空，风光摄影就是看天吃饭的，一片死白的话细节就不可能恢复出来了。","b":false,"xe":"Last, what we're not satisfied with in this image: first, the sky. Landscape photography lives and dies by the sky — once it's dead white, detail can't be recovered."},{"t":"p","x":"其次是这个船的大小，我觉得相对于画面的大小来说，还是太大了。","b":false,"xe":"Second, the boat's size — relative to the frame, I still think it's too big."},{"t":"p","x":"再就是船上的人物，因为之前说过的原理，互补色，导致船上的人物细节不够丰富。虽然说我拍摄的时机是太阳落山之前，天气也算是阴天，大家可以看到，光线还是非常的硬。后期的时候加了一些柔化，但是效果过渡都不好。如果再晚一些还有船过来的话光线会更加好。","b":false,"xe":"And the figure on the boat: for the complementary-color reason explained earlier, the figure lacks detail. Although I shot before sunset in cloudy weather, the light was still very harsh, as you can see. I added softening in post, but the transitions aren't great. Had another boat come by a bit later, the light would have been better."},{"t":"h","x":"作者：Damon","xe":"Author: Damon"},{"t":"p","x":"杭州风光狗，没事拍拍西湖，拍拍狗粮。","b":false,"xe":"A Hangzhou landscape shooter — photographs West Lake in his spare time, and dog food too."},{"t":"p","x":"Damon图博：","b":false,"xe":"Damon's portfolio:"},{"t":"p","x":"图虫：https://tuchong.com/244903/","b":false,"xe":"Tuchong: https://tuchong.com/244903/"},{"t":"p","x":"LOFTER: http://zhusimin2008.lofter.com/","b":false,"xe":"LOFTER: http://zhusimin2008.lofter.com/"},{"t":"p","x":"欢迎大家欣赏！","b":false,"xe":"Enjoy!"},{"t":"p","x":"转自翔宇情的新公众号 - We摄影","b":false,"xe":"Reposted from Xiangyuqing's new WeChat account — We Photography"},{"t":"img","f":"img-24","w":640,"h":638},{"t":"h","x":"托马斯的千聊直播间建立啦！","xe":"Thomas's Qianliao livestream channel is live!"},{"t":"h","x":"以后托马斯会在千聊不定期举办免费讲座，互动评片以及进阶训练营。","xe":"Thomas will host free lectures, interactive photo critiques, and advanced training camps on Qianliao from time to time."},{"t":"h","x":"欢迎扫描二维码或者阅读原文关注！","xe":"Scan the QR code or read the original post to follow!"},{"t":"img","f":"img-25","w":152,"h":152}],"titleEn":"Turn Ordinary Landscapes into Black-and-White Masterpieces"}