{"slug":"drone-3km-composition","title":"观景台只能拍打卡照？无人机发现3公里外绝美构图！","author":"Thomas看看世界","date":"2022-06-17","wechat":"https://mp.weixin.qq.com/s?__biz=MzI4NDA5MzE5NQ==&mid=2247495580&idx=1&sn=f96813b358bba925e0f8d78a640ac1c3&chksm=eb8211f8dcf598eea8cdd00ff69cadd4acea21e5511d68051dc130fb61db32bdd8197a1d904f&scene=21#wechat_redirect","blocks":[{"t":"p","x":"对于风光摄影师而言，如何在常规景点拍出来不一样的构图，一直是个难题。","b":false,"xe":"For landscape photographers, how to find fresh compositions at well-known locations is always a challenge."},{"t":"p","x":"而无人机不仅可以解锁很多新的视角，在探索发现方面也很有用。","b":false,"xe":"Drones not only unlock many new perspectives — they are also extremely useful for exploration and discovery."},{"t":"p","x":"今天Thomas就会和大家分享一下，我在阿坝是如何使用无人机发现绝美构图的~","b":false,"xe":"Today Thomas shares how I used a drone to discover a stunning composition in Aba, Sichuan."},{"t":"img","f":"img-01","w":1067,"h":1600},{"t":"h","x":"视频","xe":"Video"},{"t":"bili","bv":"BV1nA4y1d7cG","bpic":"bili-1","bt":"观景台只能拍打卡照？无人机发现3公里外绝美构图！"},{"t":"p","x":"上面这支视频是 Thomas 那张阿坝郎依寺航拍照片的完整前后期教程：在大众观景台上如何用器材和焦段打好基础、无人机如何飞出三公里外的绝美机位，以及从 Camera Raw 到 PS 的整套后期流程。本文是视频的图文整理，关键界面和参数都配了视频截图，方便你对照实操。","xe":"The video above is Thomas's full behind-the-scenes tutorial for his popular aerial photo of Langyi Monastery in Aba: how to get the most from gear and focal length at a crowded viewing platform, how the drone discovered a stunning composition three kilometers away, and the complete editing workflow from Camera Raw to Photoshop. This article is the illustrated write-up, with screenshots of every key panel and parameter so you can follow along."},{"t":"p","x":"先看成片。清晨的暖光顺着山坡的褶皱铺开，山坡上的村庄与寺庙被照得又亮又暖，远山退成一层层灰蓝——这样的画面，观景台上是拍不到的，它是「观景台 + 无人机 + 系统性后期」共同的结果。","xe":"Start with the final image: morning light rakes across the folded hillsides, the village and monastery glow warm and bright on the slope, and the far mountains recede into layers of grey-blue. You cannot make this picture from the viewing platform alone — it takes the platform, a drone, and a systematic edit working together."},{"t":"img","f":"v01","w":852,"h":480},{"t":"h","x":"01 观景台之上：装备与焦段","xe":"01 Above the platform: gear and focal length"},{"t":"p","x":"机位是郎依寺观景台，Thomas 的主力相机是索尼 A7R4 加 24-70mm 镜头。他现场测试后发现，这个机位最好用的焦段是 40-70mm：既不会把前景杂乱的草地取进画面，又能把想要的远处景物全部收进来（视频 1:16 处）。","xe":"The location is the Langyi Monastery viewing platform, and Thomas's main body is a Sony A7R4 with a 24-70mm lens. After testing on site he found the sweet spot to be 40-70mm: long enough to exclude the messy grass in the foreground, yet wide enough to take in everything in the distance (around 1:16 in the video)."},{"t":"img","f":"v02","w":852,"h":480},{"t":"p","x":"观景台毕竟是大众景点，想拍出不一样的角度，关键设备是无人机。这次的装载思路很实用：御 3 主力机放在相机包的快拆侧包里，拿出来就能飞；三脚架挂包侧，机身和镜头放上层，20L 的包对自驾旅行刚刚好（视频 1:45-2:26 处）。","xe":"A viewing platform is a crowd-pleaser of a location, and the key to a different angle is the drone. The packing logic here is practical: the Mavic 3, his main aircraft, rides in the quick-release side pocket of the camera bag so it can deploy in seconds; the tripod hangs off one side, body and lenses sit on top, and a 20L pack is just right for a road trip (1:45-2:26)."},{"t":"img","f":"v03","w":852,"h":480},{"t":"h","x":"02 三公里外的发现：航拍找机位","xe":"02 The find three kilometers out: scouting by drone"},{"t":"p","x":"飞起来后第一步是排除法。与观景台同角度的常规机位直接放弃；换成和太阳顺光的方向，背景是平原和村庄，看起来也一般；真正好的是侧光方向——背后的山褶皱纹理丰富，太阳升高后被侧光照亮，山的层次感会非常好（视频 3:11-3:35 处）。","xe":"Once airborne, the first pass is elimination. The conventional frame matching the viewing platform is out; turning to shoot with the sun leaves flat light on plains and villages that look mediocre. The good direction is side light — the folded hills behind are rich in texture, and once the sun climbs, raking light reveals their layered relief (3:11-3:35)."},{"t":"img","f":"v04","w":852,"h":480},{"t":"p","x":"接着他注意到远处山上依山而建、还有一座寺庙的村庄，把无人机飞过去三公里查看（视频 3:41-3:46 处）。这座村庄最棒的一点是主次分明：寺庙在中间，周边是小房子，天然就有视觉中心（视频 3:55 处）。","xe":"Then he spots a village built up the slope of a distant hill with a monastery at its heart, and sends the drone three kilometers over to check it out (3:41-3:46). What makes the village work is its clear hierarchy: monastery in the middle, small houses around it — a natural focal point (around 3:55)."},{"t":"img","f":"v05","w":852,"h":480},{"t":"p","x":"绕着村庄飞行试角度，最后选定的方向里，前景的路形成一条引导线和一个透视效果，把视线从画面边缘一路引向村庄主体（视频 4:00-4:06 处）。三公里外的这个发现，成了最终成片的机位。","xe":"Orbiting the village to test angles, he settles on the direction where the road in the foreground forms a leading line and a sense of perspective, pulling the eye from the edge of the frame straight to the village (4:00-4:06). That find, three kilometers out, becomes the final composition."},{"t":"img","f":"v06","w":852,"h":480},{"t":"h","x":"03 Camera Raw：一张原片打基础","xe":"03 Camera Raw: one frame is all it takes"},{"t":"p","x":"成片的原始参数是 ISO100、无人机默认的 f/1.7 光圈、约 1/5000 秒快门（视频 4:15 处）。当时虽然拍了包围曝光，但最后发现只取这一张就够了。Camera Raw 里第一步是用基本面板把高光和阴影恢复回来（视频 4:32 处）。","xe":"The final frame was shot at ISO100, the drone's default f/1.7 aperture, and roughly 1/5000 s (around 4:15). Exposure bracketing was triggered at the time, but a single frame turned out to be enough. In Camera Raw, step one is pulling the highlights and shadows back with the Basic panel (around 4:32)."},{"t":"img","f":"v07","w":852,"h":480},{"t":"p","x":"色彩部分是这套流程的招牌动作：校准面板里把蓝原色饱和度直接提升到 100，最大化地强化画面色彩幅度（视频 4:41 处）。代价是冷色容易过猛，所以要用混色器（HSL）配合：把画面里比较难看的绿色往黄色偏移并降低饱和度，再把蓝色、青色、紫色的饱和度适当降回来（视频 4:48-5:02 处）。","xe":"The signature color move comes next: in the Calibration panel he pushes the blue primary saturation all the way to 100, maximizing the color spread of the whole frame (around 4:41). The catch is that cool colors then run too hot, so the HSL panel rebalances: ugly greens are shifted toward yellow and desaturated, while blue, cyan and purple saturation are pulled back down (4:48-5:02)."},{"t":"img","f":"v08","w":852,"h":480},{"t":"h","x":"04 PS 滤镜链：降噪与氛围","xe":"04 The Photoshop filter chain: denoise and atmosphere"},{"t":"p","x":"进入 PS 后，先以智能对象打开 Camera Raw 文件，然后连套三组滤镜（视频 5:09-5:22 处）。第一个是 Topaz Denoise AI 做降噪；接着是 Nik Color Efex 里的对比度类滤镜，效果类似清晰度，提升画面清晰度和局部中间调对比（视频 5:24 处）。","xe":"In Photoshop the Camera Raw file is opened as a Smart Object, then three filter passes stack up (5:09-5:22). First, Topaz Denoise AI for noise reduction; then a contrast filter from Nik Color Efex that behaves like Clarity, boosting overall sharpness and local midtone contrast (around 5:24)."},{"t":"img","f":"v09","w":852,"h":480},{"t":"p","x":"古典柔焦负责整体的柔化和提亮，并通过变亮变暗中心点把光线效果集中到画面中心，周边相应压暗（视频 5:32-5:45 处）；偏光镜用来压暗蓝色、提亮暖色并给暖色加饱和；天光镜则让整张照片带上一点品红、紫红的色调（视频 5:46-5:56 处）。三组滤镜下来，画面的氛围底子就打好了。","xe":"Classical Soft Focus adds overall softening and glow, and its brighten/darken center pulls the light toward the middle of the frame while the edges sink back (5:32-5:45); the Polarizer darkens blues and brightens and saturates the warm tones; and the Skylight filter lays a faint magenta cast over everything (5:46-5:56). After this chain, the atmospheric foundation is in place."},{"t":"img","f":"v10","w":852,"h":480},{"t":"h","x":"05 渐变滤镜：把光画进画面","xe":"05 Graduated filters: painting light into the frame"},{"t":"p","x":"接下来再套一个 Camera Raw 滤镜，核心是蒙版里的多支渐变滤镜（视频 5:58-6:10 处）。压暗侧的参数非常克制：色温减 1 相当于加 1 的蓝色，曝光减 0.2；每一笔调整幅度很小，但范围各不相同，叠出来的渐变效果就比较均匀（视频 6:11-6:28 处）。","xe":"A Camera Raw filter pass comes next, and its core is a stack of graduated filters inside the masking workspace (5:58-6:10). The darkening side is deliberately restrained: temperature minus 1 — equivalent to adding a touch of blue — and exposure minus 0.2. Each stroke moves the sliders only slightly, but covers a different area, so the combined gradation stays even (6:11-6:28)."},{"t":"img","f":"v11","w":852,"h":480},{"t":"p","x":"然后反其道行之：再拉好几层渐变，反过来增加曝光、阴影、黑色，加色温和色调，专门提亮暗部、渲染暖黄色的光感，每一层都对光线有一次渲染（视频 6:31-6:48 处）。开关这个图层对比，压暗的地方全部压暗了，要出暖光的地方也做了出来（视频 6:50-6:58 处）。之后再色相饱和度降一点蓝色并用蒙版限制范围（7:07 处）、色彩平衡给中间调加蓝平衡过暖的画面（7:17 处）、空白图层用雾气笔刷把原有雾气加浓（7:29 处）、亮度对比度加曲线压暗四周（7:43 处）——画面越来越完整。","xe":"Then the direction flips: several more gradients are pulled, this time raising exposure, shadows and blacks while warming temperature and tint, lifting the dark zones and rendering a warm-yellow glow — each layer adding one more pass of light (6:31-6:48). Toggling the layer shows the result: everything that should be dark is darkened, and the warm-light areas have been built (6:50-6:58). From there: a Hue/Saturation pull-down of blue limited by a mask (7:07), Color Balance adding blue to the midtones to offset the warmth (7:17), a blank layer with fog brushes thickening the natural mist (7:29), and Brightness/Contrast plus Curves, masked to the edges, to press the corners down (7:43) — the frame keeps getting more complete."},{"t":"img","f":"v12","w":852,"h":480},{"t":"h","x":"06 暖光山坡与空气透视","xe":"06 Warm slopes and aerial perspective"},{"t":"p","x":"盖印一个图层并转为智能对象（效果与 Ctrl+Alt+Shift+E 盖印相同，视频 8:03 处）之后，是最出效果的一步：山坡暖光。新建空白图层，混合模式改成叠加，用吸管吸取光线的暖黄色，沿着山坡涂抹，再挂一个亮度蒙版限制——这样涂抹基本只影响已经被照亮的山坡部分，被照亮的区域就更亮、更暖了（视频 8:16-8:44 处）。","xe":"After stamping a layer and converting it to a Smart Object — the equivalent of Ctrl+Alt+Shift+E (around 8:03) — comes the most transformative step: warm light on the slopes. Create a blank layer set to Overlay, sample the warm yellow of the sunlight with the eyedropper, paint along the hillsides, then attach a luminosity mask as a limiter — the paint now lands almost exclusively on the already-lit slopes, and those areas grow brighter and warmer (8:16-8:44)."},{"t":"img","f":"v13","w":852,"h":480},{"t":"p","x":"收尾的三板斧都很轻：天空分几步压暗，让它显得更均匀（8:45 处）；再用中间调对比对整体的对比和色彩做一次强化（8:51 处）；远处层次感则是直接用曲线提亮黑场——把画面最暗的区域提起来，但用蒙版限制在远处，「近黑、远灰、远亮」的空气透视立刻出来（视频 8:59-9:13 处）。最后用不透明度 5% 左右的笔刷在正常图层上刷出雾气光线的渲染感，再把中间提亮一点点，这张照片就完成了（9:16-9:33 处）。","xe":"The closing moves are all feather-light: the sky is darkened in several small steps so it reads more even (8:45); midtone contrast gives the whole frame one more pass of punch and color (8:51); and for distance, Curves lifts the black point — raising the deepest shadows — but a mask confines the lift to the far end of the frame, and the near-dark-to-far-bright aerial perspective clicks into place (8:59-9:13). Finally a normal layer brushed at roughly 5% opacity adds a last breath of hazy glow, the midtones get a slight lift, and the photo is done (9:16-9:33)."},{"t":"img","f":"v14","w":852,"h":480},{"t":"quote","x":"1. 大众机位想出片，装备分工要明确：相机守常规视角，40-70mm 控制画面，无人机负责探索——御 3 主力加 Mini 3 备机、快拆侧包随取随飞；2. 航拍找机位用排除法：顺光一般、侧光出层次，再飞近确认主体是否主次分明、前景有没有引导线，三公里外的发现就是这样来的；3. 后期的骨架是「蓝原色饱和度 +100 + HSL 压冷色」，滤镜链负责氛围，多层小幅度渐变滤镜把压暗与暖光逐层画进画面；4. 亮度蒙版限定山坡暖光、曲线提亮远处黑场，近黑远亮的空气透视一出来，照片就有了纵深。","xe":"1. At a crowded location, divide the labor clearly: the camera holds the classic view at 40-70mm, while the drone does the exploring — a Mavic 3 main body, a Mini 3 backup, and a quick-release side pocket for instant deployment. 2. Scout by elimination: flat light is mediocre, side light builds layers, then fly in to confirm the subject has a clear hierarchy and the foreground offers a leading line — that is how the find three kilometers out happened. 3. The editing backbone is blue-primary saturation +100 balanced by HSL taming the cool tones; the filter chain builds atmosphere, and many small graduated filters paint shadow and warm light into the frame layer by layer. 4. Limit the warm slope light with a luminosity mask and lift the distant blacks with Curves — once near-dark, far-bright aerial perspective appears, the photo gains true depth."}],"titleEn":"Viewpoints Are Just for Snapshots? A Drone Found a Stunning Composition 3km Away"}