{"slug":"extreme-landscape-secrets","title":"那些极致的风光大片都是怎么来的？揭秘照片背后的拍摄与后期","author":"Thomas看看世界","date":"2018-11-18","wechat":"https://mp.weixin.qq.com/s?__biz=MzI4NDA5MzE5NQ==&mid=2247487779&idx=1&sn=2222bcd44799266ca92de69572cdb9c9&chksm=eb81ef47dcf6665152404b7348f0cb4e1923ac9bb9e472bd720c598dd9e84a80698d87d16642&scene=21#wechat_redirect","blocks":[{"t":"h","x":"Thomas看看世界","xe":"Thomas Chu Photo"},{"t":"p","x":"每周一篇教程，让摄影不再难学","b":false,"xe":"One tutorial per week — making photography easy to learn"},{"t":"p","x":"那些极致的风光大片都是怎么来的？在未来的教程中，托马斯会陆续和大家分享，一些风光照片的前期拍摄过程和后期处理思路。","b":false,"xe":"How are those ultimate landscape masterpieces made? In future tutorials, Thomas will gradually share the capture process and post-processing ideas behind selected landscape photos."},{"t":"p","x":"今天分享的照片，是我去年在格陵兰岛2个月徒步过程中，拍摄的一张全景接片。","b":false,"xe":"Today's photo is a panorama I shot last year during a 2-month trek in Greenland."},{"t":"img","f":"img-02","w":1080,"h":586},{"t":"p","x":"要拍到一张震撼的风光照片，常常考验着摄影师的毅力、耐心和细心观察。","b":false,"xe":"Capturing a stunning landscape photo often tests a photographer's perseverance, patience and careful observation."},{"t":"p","x":"当天下午其实整个西边天空乌云密布，让人颇为沮丧。","b":false,"xe":"That afternoon, the entire western sky was covered in dark clouds — quite discouraging."},{"t":"p","x":"不过我们观察到很远的地平线处，云层和海平面之间有一条很小的缝隙，如果傍晚继续保持这样，那么太阳落入空隙的时候，就会照亮云层，有可能形成壮观的晚霞。","b":false,"xe":"But we noticed a tiny gap between the clouds and the sea level at the far horizon. If it stayed that way into the evening, the sun would drop into the gap and light up the clouds, possibly creating a spectacular sunset glow."},{"t":"img","f":"img-03","w":1080,"h":578},{"t":"p","x":"于是我和队友决定赌一把天气，继续爬上600米的高处等待日落。在路上，我们发现了不少有意思的前景，但这样的构图，对我而言还是太普通了一些。","b":false,"xe":"So my teammate and I decided to bet on the weather and kept climbing to a 600-meter-high vantage point to wait for sunset. Along the way we found many interesting foregrounds, but compositions like this still felt too ordinary to me."},{"t":"img","f":"img-04","w":1068,"h":1600},{"t":"p","x":"我们不远万里，辗转了几次飞机、直升机和渔船，在格陵兰岛无人区徒步了2个月之久，目的就是去寻找和记录这个世界上最震撼的一些山地景观。","b":false,"xe":"We traveled thousands of miles — multiple flights, helicopters and fishing boats — and trekked for 2 months in Greenland's uninhabited wilderness, all to seek out and record some of the most stunning mountain landscapes on Earth."},{"t":"p","x":"而使用全景接片，取入整个连绵的雪山和峡湾，无疑是一种更具冲击力的构图方式。","b":false,"xe":"And using a panorama to take in the entire stretch of snow mountains and fjords is undoubtedly a more impactful way to compose."},{"t":"img","f":"img-05","w":1080,"h":398},{"t":"p","x":"在广角镜头下，只有远处的景物的话都显得很小，画面容易缺少纵深感，需要取入一些前景来强化空间关系。在山坡上有很多的岩石，但这些岩石很多都很乱，并不是特别适合取入构图。","b":false,"xe":"With a wide-angle lens, scenes containing only distant objects tend to look small and lack depth; you need foreground elements to strengthen the spatial relationships. There were many rocks on the slope, but most were messy and not suitable for the composition."},{"t":"img","f":"img-06","w":1000,"h":693},{"t":"p","x":"我在山坡上仔细搜索，发现了一组形态和排列比较有序的石头，比较适合当作前景。","b":false,"xe":"I searched the slope carefully and found a group of rocks with orderly shapes and arrangement, suitable as a foreground."},{"t":"p","x":"石阵中间是一块比较大的巨石，旁边是一群比较小的岩石，而且这些小的石头，其尖角都是指向中间的巨石，就像一个个箭头一样，比较有秩序感。","b":false,"xe":"In the middle of the rock formation was one large boulder, surrounded by smaller rocks whose pointed tips all aimed at the central boulder — like arrows, giving a sense of order."},{"t":"img","f":"img-07","w":578,"h":873},{"t":"p","x":"前景是风景画面的一部分，而不是割离的另外一组景物。如何让前景的石头阵，和背景的晚霞形成更好的联系和互动？","b":false,"xe":"The foreground is part of the landscape image, not a separate set of objects. How could I build a better connection and interaction between the foreground rocks and the sunset clouds in the background?"},{"t":"p","x":"我在《风光摄影后期基础》一书中提到过，人的视线或者手指方向也是一种视觉引导线。","b":false,"xe":"I mentioned in my book 'Foundations of Landscape Photography Post-Processing' that a person's line of sight or pointing direction is also a kind of visual leading line."},{"t":"p","x":"如果在石头上站一个人，而且人看着远方（或者手指远方），那么画面下部和上部之间的视觉流动就会建立起来。","b":false,"xe":"If a person stands on the rock looking into the distance (or pointing afar), a visual flow between the lower and upper parts of the frame is established."},{"t":"img","f":"img-08","w":1080,"h":597},{"t":"p","x":"当然人在这里，除了起到视觉连接的作用之外，还起到了参照物和增加故事性的作用。","b":false,"xe":"Of course, beyond visual connection, the person also serves as a scale reference and adds storytelling."},{"t":"p","x":"如果没有这个人，我们可能无法感觉出来这块巨石到底有多高，远处的山峰到底有多远。但有了人之后，读者就能直观的明白这块石头有2-3个人高，还能通过透视大小关系，理解远处的山峰有几公里远。","b":false,"xe":"Without the person, we couldn't sense how tall the boulder really is or how far the distant peaks are. With the person, viewers immediately understand the rock is 2-3 people tall, and through perspective they grasp that the peaks are kilometers away."},{"t":"p","x":"在纯风景照中，氛围和故事的营造是更有难度的，而人物的加入，无疑让画面更容易带上情绪。","b":false,"xe":"In pure landscape photography, creating atmosphere and story is harder — adding a person undeniably makes it easier for the image to carry emotion."},{"t":"p","x":"下图就是我用无人机自拍的现场环境图，大家可以看到我放相机三脚架的拍摄点和我人站的位置。","b":false,"xe":"The photo below is an on-location drone selfie: you can see where I placed the tripod and where I stood."},{"t":"img","f":"img-09","w":1080,"h":534},{"t":"p","x":"很多人好奇又要自拍又要接片，是如何完成的？答案其实是分开拍摄。我在晚霞刚有一点点征兆的时候，就爬到石头上，用定时快门线，自拍了一张我站在巨石上的照片。","b":false,"xe":"Many people wonder how to do both a selfie and a panorama — the answer is to shoot them separately. When the sunset glow had just begun to show, I climbed onto the rock and used a timer remote to take a self-portrait standing on the boulder."},{"t":"img","f":"img-10","w":1080,"h":721},{"t":"p","x":"等晚霞开始爆发后，我又回到了石阵后面的拍摄点，进行全景接片的拍摄。","b":false,"xe":"Once the sunset clouds erupted, I returned to the shooting spot behind the rock formation and began the panorama capture."},{"t":"img","f":"img-11","w":1080,"h":795},{"t":"p","x":"这组接片使用尼康D750相机和14-24mm超广角镜头拍摄，单张焦距是16mm，竖构图，一共拍摄了一排8张。","b":false,"xe":"This panorama was shot with a Nikon D750 and a 14-24mm ultra-wide lens at 16mm per frame, in vertical orientation — one row of 8 frames."},{"t":"p","x":"因为使用广角接片，所以我需要保证两张照片之间的重合度至少有50%。这样软件在接片的时候，会优先选择每张照片中间形变较小的部分，而不会取入广角照片四周形变夸张的区域。","b":false,"xe":"Because it's a wide-angle panorama, I needed at least 50% overlap between adjacent frames, so the stitching software prefers the less-distorted center of each frame and avoids the exaggerated edges."},{"t":"p","x":"下面三张照片，是我从左到右拍摄的前三张照片，可以看到两张之间的重合度都达到了50%-70%。","b":false,"xe":"The three photos below are my first three frames from left to right — you can see 50%-70% overlap between each pair."},{"t":"img","f":"img-12","w":801,"h":1200},{"t":"img","f":"img-13","w":801,"h":1200},{"t":"img","f":"img-14","w":801,"h":1200},{"t":"p","x":"每张照片的拍摄参数如下：","b":false,"xe":"The settings for each frame were as follows:"},{"t":"p","x":"首先是自动白平衡、自动矩阵测光、自动对焦，我比较相信科技的力量，大部分情况下都用自动。","b":false,"xe":"First: auto white balance, auto matrix metering, autofocus — I trust technology and use auto in most situations."},{"t":"p","x":"我一般喜欢用光圈优先模式，固定光圈和ISO，让相机自动选择快门速度。","b":false,"xe":"I generally prefer aperture priority: fix the aperture and ISO, and let the camera choose the shutter speed."},{"t":"p","x":"因为当时的光线瞬息万变，要求快速完成拍摄，我干脆手持快速完成了接片（因为每张调整云台实在繁琐），快门速度不能太慢。","b":false,"xe":"Because the light was changing rapidly and the capture had to be fast, I simply handheld the panorama (adjusting the pano head for each frame was too tedious), so the shutter speed couldn't be too slow."},{"t":"p","x":"所以我把ISO提高到400，光圈保持在最优光圈(f8)附近的f6.3，石头阵离我的拍摄点有7米多远，f6.3的景深没有问题。此时相机给出的快门速度是1/60秒，比较合适。","b":false,"xe":"So I raised ISO to 400, kept the aperture at f/6.3 near the lens's sweet spot (f/8), and since the rocks were over 7 meters away, f/6.3 gave sufficient depth of field. The camera then chose 1/60s — quite suitable."},{"t":"img","f":"img-15","w":380,"h":488},{"t":"p","x":"在后期的时候，我把这8张照片导入Camera Raw软件中，使用教程《如何用PS/LR拼接高质量的全景照片》中的方法进行拼接。","b":false,"xe":"In post, I imported the 8 frames into Camera Raw and stitched them using the method from the tutorial 'How to Stitch High-Quality Panoramas in PS/LR'."},{"t":"p","x":"下面这张，就是接片完成之后的全景图像，我在Camera Raw中继续对其进行了简单的调整。","b":false,"xe":"Below is the stitched panoramic image; I continued with simple adjustments in Camera Raw."},{"t":"img","f":"img-16","w":1000,"h":566},{"t":"p","x":"首先是要恢复照片中的细节。原图天空部分过曝，地面漆黑一片，所以曝光、阴影、黑色都做了提升，高光滑块降低。","b":false,"xe":"First, recover the details. The sky in the original was overexposed and the ground pitch black, so I raised exposure, shadows and blacks, and pulled down the highlights slider."},{"t":"img","f":"img-17","w":282,"h":496},{"t":"p","x":"原图的天空云层蕴含了很多细节，只需简单处理一下就会质感丰富。","b":false,"xe":"The sky clouds in the original contained lots of detail — a little processing brings out rich texture."},{"t":"p","x":"除了整体的清晰度+5，去除薄雾+50强化细节之外，我还给天空拉了不少渐变滤镜，只对天空进行减曝光，加清晰度，去除薄雾的操作。","b":false,"xe":"Besides global Clarity +5 and Dehaze +50 to strengthen detail, I also applied several graduated filters to the sky only — reducing exposure, adding clarity and dehaze there."},{"t":"img","f":"img-18","w":1080,"h":440},{"t":"p","x":"一般我在使用渐变滤镜和径向滤镜的时候，都会遵循多步少量的原则，也就是每一个滤镜调整的参数都比较小，但可以调整很多次，每次的氛围和羽化值都稍有区别，这样最终效果会更加自然。","b":false,"xe":"When using graduated and radial filters, I follow the principle of 'many passes, small amounts': each filter's adjustment is modest, but applied many times with slightly different mood and feather values, so the final result looks more natural."},{"t":"p","x":"使用Camera Raw简单处理了一下，照片效果已经非常突出。","b":false,"xe":"After this simple Camera Raw pass, the photo already looked outstanding."},{"t":"img","f":"img-19","w":1080,"h":612},{"t":"p","x":"这张全景接片的成片四周有不少空白缝隙，我使用了教程《如何无损修复全景接片中的变形和空隙》中的方法，用变形和填充工具，对空白像素进行了处理。","b":false,"xe":"The stitched panorama had blank gaps around its edges; I used the method from the tutorial 'How to Losslessly Fix Distortion and Gaps in Panoramas', using warp and fill tools to handle the empty pixels."},{"t":"img","f":"img-20","w":943,"h":519},{"t":"p","x":"接着将前面拍摄的人物素材导入抠出，与全景照片合并到一起。","b":false,"xe":"Next, I imported the previously shot human subject, cut it out, and merged it into the panorama."},{"t":"img","f":"img-21","w":692,"h":705},{"t":"p","x":"因为是相同机位相近时间拍摄的人物素材，因此人物透视、角度、光影合并进来很自然也很简单。","b":false,"xe":"Because the person was shot from the same position at nearly the same time, the perspective, angle and lighting merged in naturally and easily."},{"t":"img","f":"img-22","w":952,"h":500},{"t":"p","x":"在最后的成片中，我把我的蓝色羽绒服，用色相/饱和度工具改成了红色，以和红色的晚霞来统一、呼应。","b":false,"xe":"In the final image, I used the Hue/Saturation tool to change my blue down jacket to red, unifying and echoing the red sunset clouds."},{"t":"p","x":"照片中还有很多类似的小细节，都需要摄影师去考虑到。比如除了衣服的颜色之外，衣服的选择和搭配也是很重要的。","b":false,"xe":"There are many similar small details in a photo that the photographer must consider — beyond clothing color, the choice and matching of clothing also matters."},{"t":"p","x":"下面一张照片是我另外一张背影自拍，效果并不好。","b":false,"xe":"The photo below is another back-facing selfie of mine, and it didn't work well."},{"t":"img","f":"img-23","w":801,"h":1200},{"t":"p","x":"原因是欧美版型的冲锋衣和冲锋裤一般都比较膨胀，不是特别修身，所以拍出来线条感和质感都不太足够。","b":false,"xe":"The reason: Western-cut hardshell jackets and pants are generally puffy and not very fitted, so the resulting lines and texture feel insufficient."},{"t":"p","x":"后来我研究了很多Max Rive的自拍，发现他经常使用羽绒服加短裤的奇怪搭配。","b":false,"xe":"Later I studied many of Max Rive's selfies and found he often uses the odd combination of a down jacket with shorts."},{"t":"img","f":"img-24","w":1080,"h":547},{"t":"p","x":"我自己后面反复试验了一下，效果还真不错。我自己总结的原因，是因为羽绒服表面是一块一块的凸起，拍摄出来会很有质感，远胜于表面一片光滑的硬壳冲锋衣。","b":false,"xe":"I experimented repeatedly myself, and it really worked well. My conclusion: the down jacket's surface has segmented bulges that photograph with great texture, far better than a smooth hardshell."},{"t":"p","x":"而穿短裤则可以保留腿部线条，更显力量，和壮阔的自然场景也更搭配。","b":false,"xe":"And shorts preserve the leg lines, showing more strength and matching the grand natural scene better."},{"t":"p","x":"所以虽然当时北极的温度已经只有0度上下，我还是坚持穿着短裤和羽绒服的奇怪搭配进行拍摄。","b":false,"xe":"So even though the Arctic temperature was around 0°C, I insisted on shooting in the odd combo of shorts and a down jacket."},{"t":"img","f":"img-25","w":760,"h":627},{"t":"p","x":"虽然这些都是微小的细节。但正是一个个的小细节叠加在一起，才决定了照片最终的视觉表现力。","b":false,"xe":"These are all tiny details. But it is the accumulation of small details that determines a photo's final visual expressiveness."},{"t":"p","x":"每一张风光大片的背后，离不开天时地利的客观因素，也离不开摄影师的不懈探索和极致追求。","b":false,"xe":"Behind every great landscape photo lie objective factors of timing and place, as well as the photographer's relentless exploration and ultimate pursuit."},{"t":"img","f":"img-26","w":701,"h":1835},{"t":"h","x":"欢迎关注@Thomas看看世界，","xe":"Follow @Thomas Chu Photo —"},{"t":"h","x":"每周学会一个摄影技能。","xe":"learn one photography skill every week."},{"t":"p","x":"昨天托马斯在微博调查的时候，原计划分享3张照片的前后期过程，没想到光一张照片就写了这么多~~~","b":false,"xe":"Yesterday, when Thomas ran a poll on Weibo, the plan was to share the full workflow of 3 photos — who knew one photo alone would take this much writing~~~"},{"t":"img","f":"img-28","w":692,"h":669},{"t":"p","x":"后面大家还想看到哪些照片的拍摄思路和过程，欢迎关注我的微博@Thomas看看世界，留言互动讨论哦~","b":false,"xe":"Which photos' shooting ideas and process would you like to see next? Follow my Weibo @Thomas Chu Photo and leave a comment to discuss!"}],"titleEn":"Where Do Those Extreme Landscape Masterpieces Come From? Shooting and Post Revealed"}