{"slug":"comfortable-brightness","title":"风光摄影怎样的明暗程度最舒适？","author":"Thomas看看世界","date":"2020-07-12","wechat":"https://mp.weixin.qq.com/s?__biz=MzI4NDA5MzE5NQ==&mid=2247490908&idx=2&sn=838be10f97169fec56e5a42de4f085da&chksm=eb81e338dcf66a2e6103e3565cab06b79655500dfae97ce53e4147d4f56427d5b87c95a5794a&scene=21#wechat_redirect","blocks":[{"t":"h","x":"Thomas看看世界","xe":"Thomas Chu Photo"},{"t":"p","x":"本文作者：Miller姚明来","b":false,"xe":"Author: Miller Yao Minglai"},{"t":"p","x":"影调是风光摄影作品中非常重要的部分。无论是现在流行的魔幻暗调后期还是通透明快的高调风格，这些建立在明暗影调之上的风格趋向，如何把握最佳的明暗舒适度尤为重要，这也是这篇文章想要告诉大家的。","b":true,"xe":"Tonality is a vital part of landscape photography. Whether the currently popular moody dark style or the bright, airy high-key style, both are built upon tonal rendering — how to find the most comfortable level of brightness is especially important, and that is what this article wants to share."},{"t":"img","f":"img-02","w":1080,"h":516},{"t":"h","x":"（一）直方图真的很重要吗？","xe":"(1) Is the Histogram Really That Important?"},{"t":"p","x":"直方图将图片中的像素从明到暗进行排列，通过直方图我们可以直观的判断出图片的调性以及是否过曝死黑。它在我的前期拍摄中确实至关重要，因为相机的微形屏幕无法精确判断出高光和阴影的状态，这就必需借助直方图去辅助你进行判断。然后通过加减曝光补偿的方式获得更准确的曝光。","b":false,"xe":"A histogram arranges a photo's pixels from bright to dark. With it we can intuitively judge the tonality of an image and whether highlights are blown or shadows crushed. In my in-camera work it is truly essential, because the camera's tiny screen cannot accurately show the state of highlights and shadows — the histogram assists that judgment, and exposure compensation then yields more accurate exposure."},{"t":"img","f":"img-03","w":1006,"h":798},{"t":"p","x":"但在ps后期时，除了在对阴影和高光处理时偶尔会观察直方图的溢出状况。除此之外，我根本不会去看直方图。","b":false,"xe":"But in Photoshop post-processing, apart from occasionally checking histogram clipping when working on shadows and highlights, I never look at the histogram at all."},{"t":"p","x":"摄影后期是艺术的创作，艺术是100%的感性，当你开始去依赖这些程式化的框架，并以此为标准时，你就已经被折断了翅膀。","b":false,"xe":"Post-processing is artistic creation, and art is 100% sensibility. The moment you start relying on these formulaic frames as your standard, your wings have already been clipped."},{"t":"p","x":"风光摄影后期，你唯一能依赖的只能是你双眼的感受和内心的审美。","b":false,"xe":"In landscape post-processing, the only things you can rely on are the feeling of your own eyes and your inner aesthetic."},{"t":"img","f":"img-04","w":792,"h":1200},{"t":"p","x":"这张图片的直方图，在很多人眼里是不及格的，首尾严重溢出","b":false,"xe":"In many people's eyes, this image's histogram is a failure — severely clipped at both ends."},{"t":"img","f":"img-05","w":945,"h":559},{"t":"p","x":"但你会觉得这是一张不好的图片吗？恰恰相反，死黑和过曝丝毫不会给这张图片扣分。这种大明大暗的极端视觉效果正是要营造逆光时那种大开大合的刺眼感。","b":false,"xe":"But would you call it a bad image? Quite the opposite: the crushed blacks and blown highlights don't deduct a single point. This extreme visual of bright against dark is exactly what creates the bold, dazzling feeling of shooting against the light."},{"t":"p","x":"如果完全遵循直方图首尾不溢出的严谨的教条去压暗高光，提亮阴影。这张图便再无亮点了。","b":false,"xe":"If you rigidly followed the dogma that neither end of the histogram may clip — darkening highlights and lifting shadows — this image would lose all its brilliance."},{"t":"p","x":"网上还有太多完全根据直方图曲线特征的修片教程，还是那句话，盯着直方图修片，你就已经输了。","b":false,"xe":"There are too many tutorials online that edit entirely according to histogram curves. As the saying goes: the moment you start editing while staring at the histogram, you have already lost."},{"t":"h","x":"（二）高光什么时候可以过曝？","xe":"(2) When May Highlights Be Overexposed?"},{"t":"p","x":"先说答案：逆光时可以，顺光时不可以","b":false,"xe":"The answer first: it is fine when shooting against the light, but not when shooting with the light."},{"t":"img","f":"img-06","w":1080,"h":1315},{"t":"img","f":"img-07","w":1080,"h":786},{"t":"img","f":"img-08","w":1080,"h":961},{"t":"p","x":"上面三张逆光图片都或多或少有过曝的区域，这些溢出的像素恰恰是整张图片的点睛之笔。刺眼的高光区域不仅仅是视觉的兴奋点更是全图明暗通路的发起点——光线从这里射出","b":false,"xe":"The three backlit images above all have more or less overexposed areas, and these clipped pixels are precisely the finishing touch of each image. The dazzling highlight area is not only a visual point of excitement but also the origin of the whole image's pathway of light — the light radiates from here."},{"t":"img","f":"img-09","w":1080,"h":786},{"t":"p","x":"如果我们遵循高光不过曝的传统思维去压暗原本在石壁之间光线射出的过曝区域（上图），那么图片对比一下看起来就平淡很多了，而且也不通透了。","b":false,"xe":"If we followed the traditional thinking that highlights must never clip and darkened the overexposed area where light shoots out between the rock walls (above), the image would look much plainer by comparison — and far less luminous."},{"t":"img","f":"img-10","w":1080,"h":852},{"t":"p","x":"上图山峰右侧的受光面，我在做局部提亮的同时也产生了些许的过曝，但正是这些过曝反而加强了岩石反光处的高亮质感，这个细节处的巧思可以让我们对山峰有更多联想的空间：岩石的质感，是能够反光的，因为它足够光滑，是经过风吹日晒的磨砺的。。。","b":false,"xe":"On the lit right face of the peak in the image above, I created slight overexposure while dodging locally — and it is exactly this overexposure that strengthens the bright texture of the reflective rock. This little touch of ingenuity gives us more room to imagine the mountain: rock that can reflect light must be smooth, polished by wind and sun..."},{"t":"p","x":"想象一下我们平时站在逆光的太阳下看眼前景物的情景，是很刺眼的，高光会非常亮，我们很难分辨高亮处的细节。这也就是为什么逆光的摄影作品中高亮处过曝但仍令人感觉舒服的原因了，因为这符合人类肉眼的宽容度，是合情合理的所以不会突兀。","b":false,"xe":"Imagine standing against the sun and looking at the scene before you: it is dazzling, the highlights are extremely bright, and we can hardly make out detail in the brightest areas. That is why overexposed highlights in backlit photography still feel comfortable — it matches the dynamic range of the human eye, which is reasonable and therefore not jarring."},{"t":"p","x":"但是顺光的图片就不同了，下面两张图片我故意把山体和云层处的高亮区域拉过曝：","b":false,"xe":"But front-lit images are different. In the two images below, I deliberately blew out the highlights on the mountain and the clouds:"},{"t":"img","f":"img-11","w":1080,"h":715},{"t":"img","f":"img-12","w":1080,"h":756},{"t":"p","x":"但同样的高光过曝，顺光的图片就会看起来不舒适了，甚至会让人觉得有点过度后期的重口味。","b":false,"xe":"With the same overexposed highlights, a front-lit image looks uncomfortable — even a bit heavy-handed and over-processed."},{"t":"p","x":"为什么呢？真实情况下，当我们顺着太阳的方向去看眼前的景色，从高亮的受光面再到暗处的阴影面，人类肉眼的宽容度几乎可以看清楚所有的细节。所以，这就是如果过曝出现在顺光图片看起来很突兀的原因了。","b":false,"xe":"Why? In reality, when we look at a scene along the direction of the sun, from the bright lit surfaces to the dark shadows, the human eye's dynamic range can make out almost all the detail. That is why overexposure in a front-lit image looks abrupt."},{"t":"p","x":"舒适的摄影后期一定是建立在真实的视觉基础之上的。","b":false,"xe":"Comfortable post-processing must be built upon real vision."},{"t":"p","x":"所以，通常我对图片的拍摄和处理方法是：无论是顺光还是逆光的图片，前期拍摄时都需要获得从暗部到亮部全部的细节。后期时，顺光图片处理时绝对不能过曝，逆光的图片可以酌情过曝，去营造光线的炫目感。","b":false,"xe":"So my usual approach is: whether front-lit or backlit, capture full detail from shadows to highlights when shooting. In post, never overexpose a front-lit image; for a backlit image, overexpose judiciously to create a dazzling sense of light."},{"t":"h","x":"（三）什么样的图片不适合暗调后期？","xe":"(3) What Images Don't Suit Dark-Tone Post-Processing?"},{"t":"p","x":"暗调后期最近非常流行，这种魔幻沉郁的影调是很多人想学习和效仿的，也是我最拿手的风格，我有很多这样的作品：","b":false,"xe":"Dark-tone post-processing is very popular lately. This moody, magical tonality is what many want to learn — and it is also my strongest style. I have many such works:"},{"t":"img","f":"img-13","w":1080,"h":1545},{"t":"img","f":"img-14","w":1080,"h":744},{"t":"img","f":"img-15","w":1080,"h":1679},{"t":"p","x":"暗调确实更加凸显了图片的质感和光影。这种后期风格的精髓在于压暗了图片的中间调，将吸引视觉的中间调变成了暗调，从而让图片的像素大量集中于暗部和高光区域。","b":false,"xe":"Dark tones do emphasize texture and light. The essence of this style is darkening the midtones, turning the visually dominant midtones dark, so that the pixels cluster in the shadows and highlights."},{"t":"p","x":"想象一下：白天，在一间带窗的屋子里开一盏灯，光线看起来就会很微弱，但是如果你把窗帘都拉上，这盏灯看起来就耀眼了很多。","b":false,"xe":"Imagine this: in the daytime, turn on a lamp in a room with windows and the light looks faint; but draw all the curtains, and the same lamp looks far more dazzling."},{"t":"p","x":"这就是暗调后期的原理了，消除掉画面中干扰视觉的中间调，这样画面中的高光区域就更加戏剧性了，有一种魔幻感。","b":false,"xe":"That is the principle of dark-tone post-processing: remove the visually distracting midtones, and the highlights become more dramatic, with a magical feel."},{"t":"p","x":"理解了这一点，就知道了怎样的图片不太适合暗调后期了。即图片必须存在光比！如果原图的像素几乎都集中在一个调性上（只有高光，只有暗调或者只有中间调），就不适合暗调后期。因为暗调后期必须图片中有大量存在的两种以上的调性，这是去压暗一种调子从而凸显另一种调子的后期手法。","b":false,"xe":"Understanding this tells you which images don't suit dark-tone post: the image must have contrast range! If the raw file's pixels are almost all in one tonal zone (only highlights, only shadows, or only midtones), it doesn't suit dark-tone post — because dark-tone post requires at least two tonal zones present in large amounts, darkening one to set off the other."},{"t":"img","f":"img-16","w":1000,"h":707},{"t":"p","x":"这张草原九曲拍摄时接近阴天，全图都几乎处于中间调。所以不适合暗调后期，保持原本清新明快的风格是最佳选择","b":false,"xe":"This winding grassland river was shot in near-overcast conditions; the whole frame sits almost entirely in the midtones. So it doesn't suit dark-tone post — keeping its fresh, bright style is the best choice."},{"t":"img","f":"img-17","w":1080,"h":716},{"t":"p","x":"同样也是一张阴天拍摄的图片，没有任何光比，全图都处于中间调，所以后期时并没有做成暗调的风格","b":false,"xe":"Likewise an overcast shot with no contrast range, entirely in the midtones — so it was not graded into a dark style in post."},{"t":"img","f":"img-18","w":1080,"h":722},{"t":"p","x":"2019国家地理全球大奖，图片来自Thomas看看世界。这是一张中间调的图片。很多雪景的图片也不适合处理成暗调，因为太暗了雪的洁白的质感和柔和感就没了。","b":false,"xe":"2019 National Geographic global grand prize, image by Thomas Chu Photo. This is a midtone image. Many snow scenes also don't suit dark-tone processing — too dark, and the pure, soft texture of the snow is gone."},{"t":"p","x":"所以，我们需要合理判断每张图片的调性，而不是盲目的套用固定的一种风格。","b":false,"xe":"So we must judge each image's tonality properly rather than blindly applying one fixed style."},{"t":"h","x":"（四）暗部舒适度","xe":"(4) Comfortable Shadows"},{"t":"p","x":"暗部到底多暗是看起来舒服的？这个要根据图片的内容和调性进一步判断。对于暗调风格的图片，略微发灰的“轻暗部”是我感觉更舒服的。","b":false,"xe":"How dark should shadows be to look comfortable? That depends on the image's content and tonality. For dark-style images, slightly grayish 'light shadows' feel more comfortable to me."},{"t":"img","f":"img-19","w":1080,"h":578},{"t":"p","x":"所谓的“轻暗部”指的是画面最暗区域的像素很少，在直方图上的体现就是当明度由比较暗转向最暗的那段区域，直方图曲线急转直下形成了一个断崖式的下跌。而在图片中的体现就是暗而不黑，锐利但又不失柔和。","b":false,"xe":"So-called 'light shadows' mean very few pixels in the darkest zone: on the histogram, where brightness turns from fairly dark to darkest, the curve drops off a cliff. In the image, it shows as dark-but-not-black — crisp yet soft."},{"t":"img","f":"img-20","w":1080,"h":1542},{"t":"img","f":"img-21","w":648,"h":1000},{"t":"img","f":"img-22","w":1080,"h":1620},{"t":"p","x":"我们观察一下上面三张图片，整体影调虽暗但暗部却给人一种很柔和的感觉。如果你无法判断一张图片后期的好坏，很简单，盯着这张图片10s，如果觉到刺眼，觉得不舒服不想再看了那就是有问题的后期了。好的后期就像是一瓶好酒，气味浓烈但却入口绵柔，值得再三品味。","b":false,"xe":"Look at the three images above: the overall tonality is dark, yet the shadows feel soft. If you can't judge whether an image's post-processing is good, it's simple: stare at it for 10 seconds — if it feels harsh and you don't want to look anymore, the post work is problematic. Good post-processing is like a bottle of fine wine: intense in aroma yet smooth on the palate, worth savoring again and again."},{"t":"p","x":"如何制造这种暗而不黑的暗部影调呢？","b":false,"xe":"How do you create this dark-but-not-black shadow tonality?"},{"t":"p","x":"第一种是最简单的方法：","b":false,"xe":"The first method is the simplest:"},{"t":"img","f":"img-23","w":566,"h":886},{"t":"p","x":"加载色阶调整图层。将最左边的滑块向右移动，通常数值控制在5以内","b":false,"xe":"Add a Levels adjustment layer. Move the leftmost slider to the right, usually within a value of 5."},{"t":"img","f":"img-24","w":1080,"h":364},{"t":"p","x":"这样图片的暗部就会产生一种灰调，看起来就不会太黑了。","b":false,"xe":"This gives the shadows a gray cast so they no longer look too black."},{"t":"p","x":"这种最高效快捷的方法有个问题就是除了会影响画面中最黑的区域还会影响那些稍亮一些暗部。而这些暗部区域往往我们并不需要去调整。","b":false,"xe":"This quick method has a problem: besides the very darkest areas, it also affects the slightly brighter shadow areas — which often don't need adjusting."},{"t":"p","x":"而下面的这第二种方法是我常用的方法，可以只针对画面中的最暗区域作用。","b":false,"xe":"The second method below is the one I often use — it acts only on the darkest areas of the frame."},{"t":"img","f":"img-25","w":695,"h":692},{"t":"p","x":"首先加载色阶调整图层，将中间滑块向左移动（调整幅度视图片而定），我们可以发现全图明显变亮变柔和了。","b":false,"xe":"First add a Levels adjustment layer and move the middle slider to the left (the amount depends on the image) — you'll see the whole image becomes noticeably brighter and softer."},{"t":"img","f":"img-26","w":482,"h":542},{"t":"p","x":"快捷键Crtl+i反向蒙板，暂时将效果全部遮蔽","b":false,"xe":"Press Ctrl+I to invert the mask, hiding the effect entirely for now."},{"t":"img","f":"img-27","w":554,"h":682},{"t":"p","x":"接着在TKactions的rapidmask模块中加载暗调6的通道（如果所选区域太少，可以加载暗调5）。","b":false,"xe":"Then, in the RapidMask module of TKactions, load the Darks 6 channel (if the selected area is too small, load Darks 5)."},{"t":"img","f":"img-28","w":640,"h":12},{"t":"h","x":"关于TKactins的使用方法请看：《TKactions从入门到精通》","xe":"For how to use TKactions, see: 'TKactions: From Beginner to Master'."},{"t":"img","f":"img-29","w":1080,"h":766},{"t":"p","x":"再将通道输出成活动的选区。","b":false,"xe":"Then output the channel as an active selection."},{"t":"img","f":"img-30","w":1080,"h":595},{"t":"p","x":"然后用白色画笔，30-50的不透明度在黑色蒙板中涂抹。因为tkactions已经制造出了精确的暗部的选区，所以提亮的效果也只针对图片中最暗的区域而不会影响其它区域。","b":false,"xe":"Then paint with a white brush at 30-50 opacity on the black mask. Because TKactions has produced a precise selection of the dark areas, the brightening effect acts only on the darkest parts of the image without affecting anywhere else."},{"t":"p","x":"以上两种方法都能快速的制造出“轻暗部”的效果，让暗部看起来更柔和。","b":false,"xe":"Both methods quickly create the 'light shadows' effect, making the shadows look softer."},{"t":"img","f":"img-31","w":1080,"h":756},{"t":"img","f":"img-32","w":1080,"h":719},{"t":"p","x":"（上图来自Thomas看看世界）","b":false,"xe":"(Image above by Thomas Chu Photo)"},{"t":"p","x":"另外，对于这类云雾以及冰雪题材的图片，往往会更强调那种低对比度的柔美和梦幻感，所以暗部通常会拉起来更多。","b":false,"xe":"In addition, for subjects like clouds, mist, ice and snow, the low-contrast softness and dreaminess are often emphasized, so the shadows are usually lifted even more."},{"t":"img","f":"img-33","w":1080,"h":568},{"t":"p","x":"就会出现上图这种最暗部完全空缺的直方图。这就意味着图片中已经没有最暗的区域了。","b":false,"xe":"That produces a histogram like the one above, with the darkest end completely empty — meaning the image no longer has any truly dark area at all."},{"t":"img","f":"img-34","w":1080,"h":1644},{"t":"p","x":"而对于这种逆光的大光比图片，暗部如果暗一些，甚至溢出也是可以的，有时候反而能够模拟人眼真实视觉的宽容度，从而营造出刺眼的感觉和冲光的大气场。","b":false,"xe":"For high-contrast backlit images like this one, however, darker shadows — even clipped ones — are fine, sometimes better simulating the dynamic range of human vision and creating a dazzling, atmospheric feel of light flooding in."},{"t":"p","x":"到底多暗的暗部是令人舒适的，其实最重要的一点还是建立在你个人的审美之上。当你不确定的时候，可以在网络上看看那些大师的类似题材和光线条件的图片，在模仿中学习和进步。","b":false,"xe":"How dark is comfortable? Ultimately it comes down to your personal aesthetic. When in doubt, look at masters' images of similar subjects and lighting online, and learn through imitation."},{"t":"p","x":"以上，便是今天的内容。","b":false,"xe":"That is all for today."},{"t":"img","f":"img-35","w":1080,"h":1536}],"titleEn":"What Brightness Level Feels Most Comfortable in Landscape Photography?"}