{"slug":"dreamy-teal-overcast","title":"梦幻的青色调如何调出？适合阴天雨天多云天的后期色调！","author":"Thomas看看世界","date":"2021-01-10","wechat":"https://mp.weixin.qq.com/s?__biz=MzI4NDA5MzE5NQ==&mid=2247492511&idx=1&sn=fb12275d8535e8834ef03584203bc323&chksm=eb821dfbdcf594ed9d9c8e31b158d272b4339ae845c7ea3d4f3e35d6cfba8b928a8d0e34615c&scene=21#wechat_redirect","blocks":[{"t":"h","x":"Thomas看看世界","xe":"Thomas Chu Photo"},{"t":"p","x":"阴天、雨天、多云天白天，画面色彩一般会比较平淡，此时我们可以通过后期添加色调的方式，让画面不再单调。","b":false,"xe":"On overcast, rainy, or cloudy days, colors tend to look flat. In post, we can add a color grade so the image no longer feels monotonous."},{"t":"p","x":"本周的教程，我会以一张青海卓尔山拍摄的照片为例，和大家分享梦幻青色调的后期调色思路和过程，全程都在ACR（Lightroom）中完成！","b":false,"xe":"This week's tutorial uses a photo shot at Zhuo'er Mountain in Qinghai to share the mindset and process behind a dreamy teal grade — done entirely in ACR (Lightroom)!"},{"t":"img","f":"img-02","w":1080,"h":703},{"t":"h","x":"视频教程","xe":"Video Tutorial"},{"t":"bili","bv":"BV1V54y147KY","bpic":"bili-1","bt":"梦幻的青色调如何调出？适合阴天雨天多云天的后期色调！"},{"t":"p","x":"上面这支视频是 Thomas 的梦幻青色调教程：一张在祁连山拍摄的草原羊群照片，从平淡的原片调出干净、通透又略带仙气的青蓝色调。这种色调特别适合没有红云的平淡天气，阴天、雨天、多云天都适用。本文是视频的完整图文整理，每一步的参数面板都配了视频截图，Lightroom 用户同样可以照做。","xe":"The video above is Thomas's dreamy teal-grade tutorial: a grassland and sheep photo taken in the Qilian Mountains, transformed from a flat original into a clean, airy, slightly ethereal teal image. This grade suits plain weather best — overcast, rainy and cloudy days alike. This article is the full illustrated write-up with a screenshot for every step, and everything works the same in Lightroom."},{"t":"p","x":"先看对比。上面是原片，下面是调色后的成片：原片草地发黄、天空平淡，成片里天空和远山过渡成青蓝，草地收敛成黄绿，画面一下子从「记录」变成了「氛围」。","xe":"First, the comparison. The original above the fold: yellowish grass, a plain sky. The graded result: sky and far mountains shift into teal-blue, the grassland settles into yellow-green, and the frame stops being a record and becomes a mood."},{"t":"img","f":"v02","w":768,"h":480},{"t":"img","f":"v01","w":768,"h":480},{"t":"h","x":"01 裁剪：平淡天空的构图对策","xe":"01 The crop: a fix for a plain sky"},{"t":"p","x":"在 Camera Raw 里打开原片后，Thomas 做的第一件事不是调色，而是构图：先把水平线稍稍矫正（视频 0:56 处），然后重新裁剪画面。","xe":"Once the file is open in Camera Raw, Thomas's first move is not color but composition: straighten the horizon slightly (around 0:56), then re-crop the frame."},{"t":"p","x":"裁剪的逻辑紧跟天气：天空平淡的时候，不值得给它留太多空间，把地面也裁掉一些，让羊群在画面里显得更大、更引人注目（视频 1:01-1:13 处）。他觉得天空还能再压一点，再裁一刀之后，构图就有了很大的改观（1:17 处）。","xe":"The cropping logic follows the weather: when the sky is plain it does not deserve much room, so trim the foreground as well and let the sheep grow larger and more eye-catching in the frame (1:01-1:13). He trims the sky a little further with one more cut, and the composition improves dramatically (around 1:17)."},{"t":"img","f":"v03","w":768,"h":480},{"t":"h","x":"02 曲线与基本面板：明快的底子","xe":"02 Curves and the Basic panel: a bright foundation"},{"t":"p","x":"这张成片的直方图有个鲜明特点：亮部稍稍偏亮、甚至有一点轻微过曝，暗部却完全没有死黑——这正是用曲线做出的效果（视频 1:27-1:48 处）。做法是把曲线最左端的点往上提，画面里就再也不会出现纯黑的部分（2:27 处）。","xe":"The final image's histogram has a distinctive signature: highlights pushed slightly bright, even a touch clipped, while the shadows hold no crushed black at all — that is a curves move (1:27-1:48). Lift the leftmost point of the curve, and pure black disappears from the frame entirely (around 2:27)."},{"t":"img","f":"v04","w":768,"h":480},{"t":"p","x":"提黑之后画面会发灰，所以接着拉一条 S 型曲线把对比度恢复回来（视频 2:50 处）。然后回到基本面板：高光直接降到 -100，把过曝区域的细节找回来（3:03 处）；阴影强行提升，前景立刻有了被阳光照亮的感觉（3:07-3:20 处）；曝光再加 0.15（3:26 处）。","xe":"Lifting blacks turns the image flat, so an S-curve goes in next to restore contrast (around 2:50). Back in the Basic panel: highlights drop straight to -100 to recover detail in the bright zones (around 3:03); shadows come up strongly, and suddenly the foreground feels sunlit (3:07-3:20); exposure gains another +0.15 (around 3:26)."},{"t":"img","f":"v05","w":768,"h":480},{"t":"p","x":"但整体太亮还不够——亮的地方要亮起来，暗的地方也得暗下去，雪山、深色的羊和草都需要锚点，所以黑色色阶要重新拉下来，把画面中最暗的部分定住（视频 3:41-3:56 处）。到这里，「没有死黑又整体明快」的底子就完成了。","xe":"Overall brightness alone is not enough — the bright areas must glow while the dark ones still anchor the frame: the snowy peaks, the dark sheep, the grass. So the blacks slider comes back down, pinning the deepest values in place (3:41-3:56). At this point the foundation — no crushed black, overall bright and airy — is done."},{"t":"p","x":"质感的部分交给下方的几个滑杆：清晰度 +30 左右，照片会明显更锐、更清晰，但调得太多画面会显得脏，所以取适量就好（视频 4:19-4:31 处）；纹理负责最细微的细节，适当加一点点即可（4:33 处）；去除薄雾只稍稍提一丢丢——这张片要保留远处雾蒙蒙的氛围，不能把空气感全部去掉（4:49-4:57 处）。","xe":"Texture lives in the sliders below: Clarity at around +30 makes the photo visibly crisper, but too much turns it dirty, so a moderate value is the rule (4:19-4:31); Texture handles the finest detail and needs only a touch (around 4:33); and Dehaze rises just a whisker — this frame depends on its misty distance, so the sense of air must survive (4:49-4:57)."},{"t":"img","f":"v06","w":768,"h":480},{"t":"h","x":"03 颜色分级：210 的青色偏色","xe":"03 Color grading: teal at hue 210"},{"t":"p","x":"进入调色正题。工具是颜色分级——老版 Camera Raw 里叫分离色调；Thomas 把三向模式切换成阴影和高光两轮，只对阴影和高光加青色（视频 5:13-5:31 处）。在此之前还有个铺垫：把全画面饱和度适当降低，原色淡一点，青色加进来才混合得自然（4:59-5:11 处）。","xe":"Now for the grade itself. The tool is Color Grading — Split Toning in older Camera Raw versions; Thomas switches from the three-wheel layout to just shadows and highlights, adding teal only there (5:13-5:31). One step of groundwork comes first: pull overall saturation down a little, so the fading original color blends naturally with the teal to come (4:59-5:11)."},{"t":"p","x":"色相选在青蓝交界的 210 左右（视频 5:36 处），饱和度只加一丢丢——十几到二十就是很好的值；加多了青色会覆盖原来的色彩，混出非常难看的颜色（5:43-5:53 处）。高光同理，用色轮调整即可。这一步做完，画面已经有了梦幻又和谐的青调（6:05-6:09 处）。","xe":"Set the hue around 210, at the border of cyan and blue (around 5:36), and add only a whisper of saturation — somewhere between 10 and 20 is ideal; any more and the teal overpowers the original colors into something ugly (5:43-5:53). The highlights get the same treatment with the wheel. Once this is done the frame already carries that dreamy, harmonious teal (6:05-6:09)."},{"t":"img","f":"v07","w":768,"h":480},{"t":"h","x":"04 蓝原色与混色器：恢复鲜艳","xe":"04 Blue primary and HSL: restoring vibrance"},{"t":"p","x":"青色加完、饱和度又降过，画面需要把鲜艳度找回来。工具是校准面板的蓝原色饱和度：它不同于基本面板里的饱和度或自然饱和度——后两者一提就有种人工感，而蓝原色的提升舒服、养眼、自然，是风光摄影里的常用招（视频 6:17-6:48 处）。","xe":"After the teal and the earlier desaturation, the image needs its vibrance back. The tool is the blue primary saturation in the Calibration panel: unlike the Basic panel's saturation or vibrance sliders, which instantly feel artificial when pushed, the blue primary lifts color in a way that stays comfortable and natural — a landscape staple (6:17-6:48)."},{"t":"img","f":"v08","w":768,"h":480},{"t":"p","x":"最后的微调交给混色器（HSL）：橙色稍微偏红，让石头更红，和草地形成红绿对比（视频 7:04 处）；黄色适当偏橙、绿色适当偏青，两种草彼此分离，草的层次更丰富（7:18-7:28 处）；绿色饱和度稍稍降一点（7:34 处）。明亮度上，黄色提升——被光照到的区域更亮了，但明亮度提升会损失鲜艳度，所以黄色饱和度要相应补回来（7:39-7:59 处），绿色明亮度也微微提一点（8:01 处）。","xe":"Fine-tuning goes to the HSL panel: shift orange slightly toward red so the rocks redden against the grassland in a red-green contrast (around 7:04); nudge yellow toward orange and green toward teal so the two grass tones separate and the grassland gains layers (7:18-7:28); drop green saturation a touch (around 7:34). For luminance, raise yellow — the sunlit patches brighten — but luminance costs vividness, so yellow saturation compensates (7:39-7:59), and green luminance lifts a whisker too (around 8:01)."},{"t":"img","f":"v09","w":768,"h":480},{"t":"h","x":"05 局部滤镜：造光与强化纹理","xe":"05 Local filters: making light, building texture"},{"t":"p","x":"全局完成后再做局部。先用渐变滤镜在天空拉一笔，把最上面天空的曝光微微压低（视频 8:13-8:20 处）；地面同样拉一个渐变，画面立刻更有纵深和层次感（8:20-8:25 处）。","xe":"With the global pass done, go local. First a graduated filter across the sky, easing the exposure of the uppermost sky down a touch (8:13-8:20); another gradient on the ground, and the frame instantly gains depth and layering (8:20-8:25)."},{"t":"img","f":"v10","w":768,"h":480},{"t":"p","x":"接下来做光效。在光线来的方向拉一个径向滤镜：曝光适当加一点点——多了很容易过曝；重点是加阴影，因为被照亮的区域阴影本来不亮，把阴影提上来就是提上来光线的感觉；再把色温稍微加高，添一点黄（视频 8:33-8:59 处）。然后再拉一个更大一点的、再更大一点的，层层叠加，光线的效果就非常自然了（9:01-9:11 处）。最后给羊群单独刷一点暖色调，让羊看起来暖暖的（9:14 处）。","xe":"Next, manufacture the light. Pull a radial filter from the direction the light comes from: raise exposure just slightly — too much clips easily; the key is lifting shadows, because lit areas never hold deep shadows, so raising shadows is raising the sensation of light; then warm the temperature a touch for a little yellow (8:33-8:59). Then pull a bigger one, and a bigger one still — stacked layer upon layer, the light effect becomes utterly natural (9:01-9:11). Finally brush a touch of warm tone over the sheep so they glow (around 9:14)."},{"t":"img","f":"v11","w":768,"h":480},{"t":"p","x":"远处山体的纹理在这张图里非常重要，用径向滤镜强化：先在纹理区加去除薄雾（dehaze）——整体会变得比较深、比较暗，所以紧接着把高光提亮、白色进一步提升，把刚刚压下去的暗部反差重新拉出来（视频 9:33-10:15 处）。这样强化出来的纹理质感非常好；还可以换一处再拉一个弱一点的，对画面里的光线纹理做非常细致的局部强化（10:16-10:53 处）。","xe":"The distant ridgeline texture matters greatly in this frame, and a radial filter strengthens it: add Dehaze inside the texture zone — the area turns darker and heavier, so immediately lift the highlights and push the whites further, reclaiming the contrast the Dehaze just pressed down (9:33-10:15). The resulting texture is superb; repeat with a weaker second radial elsewhere, refining the light and texture of the frame in fine detail (10:16-10:53)."},{"t":"img","f":"v12","w":768,"h":480},{"t":"quote","x":"1. 梦幻青调的底子是明快：曲线提黑位消灭死黑，S 曲线拉回对比，高光 -100、阴影上提、曝光 +0.15、黑色压住，亮而不灰；2. 调色的顺序是「先减后加」：降低整体饱和度给颜色腾位置，颜色分级在阴影和高光加色相 210 的青色，饱和度只加 10-20；3. 鲜艳度靠校准面板蓝原色饱和度恢复，比拉自然饱和度更自然，再用混色器对橙、黄、绿做偏色和明暗微调；4. 局部渐变压天空提层次，多层径向滤镜（加阴影、加色温）造出自然光线，径向加去除薄雾再提亮高光白色，强化远处纹理。","xe":"1. The foundation of the dreamy teal is brightness: lift the curve's black point to kill crushed blacks, restore contrast with an S-curve, then highlights -100, shadows up, exposure +0.15 and blacks pinned — bright but never flat. 2. Grade by subtracting first: lower overall saturation to make room, then add hue-210 teal to shadows and highlights in Color Grading, saturation only 10-20. 3. Restore vibrance with the Calibration panel's blue primary — more natural than pushing vibrance — then fine-tune orange, yellow and green shifts and luminance in HSL. 4. Use a local gradient to deepen the sky for layering, stacked radial filters (shadows up, temperature warmer) to conjure natural light, and a radial with Dehaze plus lifted highlights and whites to build out the distant texture."},{"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 Create a Dreamy Teal Tone: Perfect for Overcast and Rainy Days"}