{"slug":"cloudy-day-color-grading","title":"阴天照片如何调色？3招后期处理让阴雨天也能出大片！","author":"Thomas看看世界","date":"2023-12-03","wechat":"https://mp.weixin.qq.com/s?__biz=MzI4NDA5MzE5NQ==&mid=2247498794&idx=1&sn=3fdc500ef9c8df4ac252f3c7a78ff41c&chksm=eb82024edcf58b58476e2c6d845ed9e7996e16bda561630bacf4d9b2b1a22e95a681da77ef79&scene=21#wechat_redirect","blocks":[{"t":"p","x":"对于很多摄影爱好者而言，阴天是一个非常让人头疼的天气。","b":false,"xe":"For many photography enthusiasts, an overcast day is a real headache."},{"t":"p","x":"阴天的照片缺少光影的对比，色彩也非常的平淡，如果强行后期提升对比度和饱和度，又会显得非常的不自然。","b":false,"xe":"Photos taken on cloudy days lack the contrast of light and shadow, and the colors look flat. Force up the contrast and saturation in post, and they look anything but natural."},{"t":"img","f":"img-01","w":1080,"h":808},{"t":"p","x":"今天的教程中，Thomas就会教大家三招，后期提升阴天照片的光感、色彩和层次！","b":false,"xe":"In today's tutorial, Thomas will teach you three tricks to boost the sense of light, color and depth of your cloudy-day photos in post-processing!"},{"t":"img","f":"img-02","w":1080,"h":808},{"t":"h","x":"视频","xe":"Video"},{"t":"bili","bv":"BV1Tu4y1V7jX","bpic":"bili-1","bt":"阴天照片如何调色？3招后期处理让阴雨天也能出大片！"},{"t":"p","x":"上面这支视频是 Thomas 的阴天调色教程：一张在法罗群岛用无人机拍摄的阴天原片，光影平淡、色彩寡淡，经过 Camera Raw 和 PS 的三步处理，变成了一张冷调、有光感、有雾气的成片。本文是这支视频的完整图文整理，关键参数和操作界面都配了视频截图，方便你随时对照操作。","xe":"The video above is Thomas's tutorial on grading overcast photos: a drone frame from the Faroe Islands, flat and colorless, transformed in three steps through Camera Raw and Photoshop into a cool-toned image with real light and atmosphere. This article is the full write-up, with key parameters and interface screenshots from the video so you can follow along step by step."},{"t":"p","x":"先看成片。同样的一座海上尖峰，原片灰蒙蒙一片，成片里天空有了蓝调、海面有了明暗、背景还多了一层雾气——阴天不是不能出片，而是需要换一套后期思路。","xe":"Start with the final image: the same sea stack, grey and murky in the original, now carries a blue-tinted sky, light and shade on the water, and a layer of mist behind the peak. Overcast days can absolutely produce portfolio shots — you just need a different editing mindset."},{"t":"img","f":"v01","w":852,"h":480},{"t":"h","x":"01 阴天照片的三大缺陷","xe":"01 Three flaws of an overcast photo"},{"t":"p","x":"这张原片拍摄于法罗群岛，构图本身已经不错，但作为阴天照片它有三个典型问题（视频 0:45 处）。第一，阴天光线差，整个画面光影平淡，没有明暗对比；第二，阴天几乎没什么色彩，照片看起来寡淡无味；第三，也是最尴尬的一点——它不像晴天照片那样通透、足够「实」，又不像雾天照片那样有清晰的虚实间隔，卡在中间两头不靠。","xe":"The original was shot in the Faroe Islands. The composition already works, but as an overcast photo it has three classic problems (around 0:45 in the video). First, poor light: the whole frame is tonally flat. Second, almost no color, so the image tastes watered-down. Third, and most awkward, it is neither as crisp and \"sharp\" as a sunny photo nor blessed with the clear sharp-blurry separation of a foggy one — stuck in the middle, belonging to neither."},{"t":"img","f":"v02","w":852,"h":480},{"t":"p","x":"对应这三个缺陷，后期的思路也是三招（视频 1:23-2:29 处）：给灰蒙蒙的天空人为加一层自然的蓝色调，而不是狂拉饱和度；用局部滤镜重塑明暗反差，让画面重新出现明、暗、虚、实；最后在 PS 里给背景加雾，用主体的清晰反衬背景的朦胧。下面逐一展开。","xe":"Each flaw gets its own fix (1:23-2:29 in the video): paint a natural blue tint into the grey sky instead of cranking saturation; rebuild contrast with local adjustments so bright, dark, sharp and soft zones reappear; and finally add fog to the background in Photoshop, letting the sharp subject set off the hazy backdrop. The rest of this article walks through each one."},{"t":"img","f":"v03","w":852,"h":480},{"t":"h","x":"02 颜色分级：高光加蓝，阴影加青","xe":"02 Color grading: blue in highlights, teal in shadows"},{"t":"p","x":"第一招在 Camera Raw 的「颜色分级」面板里完成。Thomas 先把颜色分级归零做对比——归零之后，整个天空立刻打回灰蒙蒙的原形（视频 3:08 处）。他的做法是在高光里加入蓝色调：阴雨天本身就给人寒冷、静谧的心理暗示，所以高光偏蓝非常自然和谐，完全不会像直接拉饱和度那样失真。","xe":"The first fix happens in Camera Raw's Color Grading panel. Thomas resets the grading to zero for comparison — and the sky instantly falls back to its flat, grey state (around 3:08). His move is to push blue into the highlights: overcast weather already reads as cold and quiet, so blue-leaning highlights feel natural and harmonious, none of the falseness you get from dragging the saturation slider."},{"t":"img","f":"v04","w":852,"h":480},{"t":"p","x":"接着在阴影部分相应加入一些青色调，让照片高光偏蓝、阴影偏青，色彩一下就有了层次，而且整体依然统一在冷调里（视频 3:30 处）。核心原则是：阴雨天不要狂增自然饱和度——颜色要靠「分级」获得，而不是靠「加量」，这样调出来的色彩才能既和谐又丰富。","xe":"Then he adds teal to the shadows, so highlights lean blue while shadows lean teal — the color instantly gains layers, yet the whole frame stays within one cool palette (around 3:30). The core rule: on rainy, overcast days do not slam the vibrance slider. Color should come from grading, not from quantity — only then does the result stay rich and harmonious at the same time."},{"t":"img","f":"v05","w":852,"h":480},{"t":"h","x":"03 全局光影：晕影与去雾","xe":"03 Global light: vignette and dehaze"},{"t":"p","x":"第二招是光影强化，第一步在效果面板里加晕影（视频 3:50 处）。晕影千万别加多，加多就成了一个明显的暗角；适量加一点，把观众视线引向画面中心的海蚀柱就够了。","xe":"The second fix rebuilds the light, starting with a vignette in the Effects panel (around 3:50). Never overdo it — too much turns into an obvious dark frame; a subtle one is enough to guide the viewer's eye toward the sea stack at the center."},{"t":"img","f":"v06","w":852,"h":480},{"t":"p","x":"然后是「去除薄雾」，整体色彩和明暗反差都会有一个很好的提升（视频 4:00 处）；清晰度和纹理也可以稍稍适当提升，让画面更扎实。这两步都是全局性的，负责先把「灰」压下去，为后面的局部处理打底。","xe":"Next comes Dehaze, which lifts both the overall color and the tonal contrast considerably (around 4:00); a touch of Clarity and Texture firms the image up as well. Both are global moves — their job is to knock the grey down first and lay the groundwork for the local work that follows."},{"t":"img","f":"v07","w":852,"h":480},{"t":"h","x":"04 局部渐变：多次少量，重塑光感","xe":"04 Local gradients: many small moves rebuild the light"},{"t":"p","x":"全局调整之后，真正让照片「有光」的是局部蒙版。先用蒙版工具选中天空整体压暗——阴天的天空偏亮，稍稍压下来层次感立刻出来（视频 4:20 处）。然后新建多个线性渐变，遵循 Thomas 反复强调的「多次少量」原则：每个蒙版只减 1 档色温让它变冷一点，再减 0.2 档曝光，从上往下拉出渐变的过渡。","xe":"After the global pass, it is the local masks that make the photo feel lit. First select the sky with the Masking tool and darken it overall — overcast skies run bright, and pressing them down restores a sense of layers immediately (around 4:20). Then build several linear gradients, following Thomas's often-repeated \"many small moves\" principle: each mask lowers the color temperature by 1 to cool it slightly and the exposure by 0.2, stacking into a gradual transition from top to bottom."},{"t":"img","f":"v08","w":852,"h":480},{"t":"p","x":"地面也不是平板一块，同样可以适当拉一些线性渐变强化明暗（视频 4:53 处）。左右方向上，原片左边本来就稍稍亮一点，后期就进一步强化这种不均匀：用径向渐变反过来加 0.2 档曝光提亮亮区、色温保持不变（视频 5:13 处），已经有一点影子的区域则用渐变再压暗。幅度务必克制，不要做成晴天那种强烈的光线对比。","xe":"The ground is not a flat slab either — add a few linear gradients there as well to strengthen its light and shade (around 4:53). The original frame is already slightly brighter on the left, so lean into that unevenness: use radial gradients to lift the bright side by +0.2 exposure while leaving the temperature untouched (around 5:13), and press the areas that already hold a hint of shadow down a little more. Keep the amplitude restrained — never let it look like the harsh contrast of direct sunlight."},{"t":"img","f":"v09","w":852,"h":480},{"t":"p","x":"这几组渐变叠加完，画面立马有了一种立体感（视频 6:09 处）。值得注意的是，原片其实已经存在高光和阴影的雏形，后期只是把这种光感强化出来——阴天照片的光不是无中生有，而是「顺势放大」。","xe":"Once these gradients stack up, the picture gains an immediate sense of dimension (around 6:09). Note that the original already contained the embryo of highlights and shadows — the edit simply amplifies a light that was almost there. Overcast light is never invented from nothing; it is pushed further along its own direction."},{"t":"img","f":"v10","w":852,"h":480},{"t":"h","x":"05 PS 加雾：做出虚实层次","xe":"05 Adding fog in Photoshop: sharp versus soft"},{"t":"p","x":"第三招进入 PS。先用快速选择工具沿主体建立选区、生成蒙版，把尖峰和背景分开（视频 6:49 处）；之后加的所有雾气都只作用于蒙版之外的背景。注意新建的是「正常」混合模式的图层，不需要任何混合模式技巧。","xe":"The third fix moves into Photoshop. Build a selection around the subject with the Quick Selection tool and turn it into a layer mask, separating the peak from the background (around 6:49); every bit of fog added afterwards affects only the masked background. Create a new layer in Normal blending mode — no blend-mode tricks required."},{"t":"img","f":"v11","w":852,"h":480},{"t":"p","x":"第一层雾用普通画笔来涂：按住 Alt 吸取背景云雾本身的颜色，把亮度值调高一点点、饱和度调低一点点，画笔不透明度设为 10%，在背景上轻轻涂过去，雾气就很自然地「长」了出来（视频 7:13 处）。但这还只是一层没有层次的雾。","xe":"The first fog layer uses an ordinary brush: Alt-click to sample the existing mist color in the background, nudge its brightness up a touch and its saturation down, set the brush opacity to 10%, and brush gently across the background — the fog appears as if it grew there (around 7:13). At this stage, though, it is still a single flat sheet of mist."},{"t":"img","f":"v12","w":852,"h":480},{"t":"p","x":"所以再新建一个正常图层，改用云雾画笔，同样 10% 不透明度，在背景上点出一团团带纹理的雾，雾就有了丰富的层次（视频 7:36 处），多换几个云雾笔刷交替涂抹效果更好。最后再建一个图层，把前景也轻轻刷进一点雾（视频 8:00 处）——画面从此有了前、中、后的清晰与模糊对比，和阴天雨天的氛围恰好相配。","xe":"So create another Normal layer, switch to downloaded cloud-fog brushes — still at 10% opacity — and stamp textured fog patches into the background, giving the mist rich layering (around 7:36); alternating between several fog brush presets works even better. Finally, on one more layer, brush a whisper of fog into the foreground too (around 8:00). The frame now carries a sharp-to-soft progression from front to back, which suits overcast, rainy weather perfectly."},{"t":"img","f":"v13","w":852,"h":480},{"t":"quote","x":"1. 阴天别狂拉饱和度：用颜色分级给高光加蓝、阴影加青，冷调既符合阴雨氛围又让色彩有层次；2. 光影分两层做：全局上少量晕影加去雾压住灰气，局部上遵循「多次少量」，用线性与径向渐变顺势放大画面原有的明暗，立体感自然浮现；3. PS 里给背景人工加雾：选区蒙版限定范围，10% 不透明度吸色涂抹，再叠云雾画笔与前景薄雾，虚实对比一出，阴天照片就有了氛围和视觉吸引力。","xe":"1. Skip the saturation slider on overcast days: grade blue into the highlights and teal into the shadows — cool tones match the mood and give the color real depth. 2. Build light in two passes: globally, a subtle vignette plus dehaze to tame the grey; locally, \"many small moves\" with linear and radial gradients that amplify the light already hiding in the frame. 3. Paint fog into the background in Photoshop: confine it with a selection mask, brush at 10% opacity with a sampled color, then layer cloud-fog brushes and a hint of foreground mist — once sharp-versus-soft contrast appears, the overcast photo gains both atmosphere and pulling power."}],"titleEn":"Color Grading for Cloudy Days: 3 Post-Processing Tricks for Great Shots in the Rain"}