{"slug":"focal-length-unique-landscapes","title":"如何在大众景点拍出有个性的风景照片？原来焦段这么重要！","author":"Thomas看看世界","date":"2021-12-26","wechat":"https://mp.weixin.qq.com/s?__biz=MzI4NDA5MzE5NQ==&mid=2247494360&idx=1&sn=c45436e13062f330a0202ee4e1b55972&chksm=eb8214bcdcf59daa377010c933452cca917fd454e2eb094a2fdd2f57da5cffb6feabd7935f75&scene=21#wechat_redirect","blocks":[{"t":"h","x":"Thomas看看世界","xe":"Thomas Chu Photo"},{"t":"p","x":"经常有同学问我，如何在黄山、桂林、敦煌这样比较大众的景点拍出不一样的照片。","b":false,"xe":"Students often ask me how to take distinctive photos at popular destinations like Huangshan, Guilin or Dunhuang."},{"t":"p","x":"今天就会和大家分享一个前期小技巧，那就是多利用特殊的焦段！","b":false,"xe":"Today I'll share one on-location trick: make full use of unusual focal lengths!"},{"t":"img","f":"img-02","w":1080,"h":720},{"t":"h","x":"视频教程","xe":"Video Tutorial"},{"t":"bili","bv":"BV1Za41167wC","bpic":"bili-1","bt":"如何在大众景点拍出有个性的风景照片？前期技巧之焦段视角篇~"},{"t":"p","x":"这一篇是上面视频的图文整理。经常有同学问 Thomas：黄山、敦煌、巴丹吉林这些大众景点，去的人那么多，还能拍出不一样的照片吗？这期 6 分钟的教程给出的答案非常简单——灵活运用特殊焦段：大家都用广角的地方你用长焦，大家都用长焦的地方你用超广角甚至全景接片。文章把视频里的案例和技巧全部落成文字，并配上关键帧截图，方便对照阅读。","xe":"This is the illustrated companion to the video above. Readers often ask Thomas: at heavily visited spots like Huangshan, Dunhuang or the Badain Jaran Desert, is a distinctive photo even possible? This 6-minute tutorial offers a simple answer — use an unexpected focal length: telephoto where everyone shoots wide, ultra-wide or panoramas where everyone shoots tele. The article turns every case and tip from the video into text, paired with key-frame screenshots for easy reference."},{"t":"img","f":"v01","w":852,"h":480},{"t":"h","x":"01 巴丹吉林：人人广角，我用长焦","xe":"01 Badain Jaran: Telephoto Where Everyone Goes Wide"},{"t":"p","x":"先看问题有多普遍。在网上搜巴丹吉林沙漠，出来的基本都是 24mm、35mm 或 50mm 拍的沙漠与湖——因为沙漠里好看的湖就那么几个，好的观景点也就那么几处，大家用同样的广角站在同样的地方，拍出来的照片自然雷同（视频 0:29 处）。Thomas 的做法是反其道而行之：多利用长焦去抓拍沙漠的细节。","xe":"First, how universal the problem is: search the Badain Jaran Desert online and you mostly get deserts-and-lakes shots taken at 24mm, 35mm or 50mm. There are only a handful of pretty lakes and viewpoints, so everyone stands in the same spot with a wide angle and the photos all look alike (at 0:29 in the video). Thomas's move is the exact opposite: lean on a telephoto and hunt for desert details."},{"t":"img","f":"v02","w":852,"h":480},{"t":"p","x":"比如这张：司机师傅开车途中，Thomas 注意到一串沙丘的纹理质感特别好，于是就地扎营过夜，并故意把自己的帐篷搭在画面里——只有沙漠纹理还缺点意思，帐篷就是点睛之笔（视频 1:16 处）。","xe":"Take this frame: while the driver was moving, Thomas spotted a stretch of dunes with beautiful texture, so the group camped right there overnight — and he pitched his own tent inside the frame on purpose. Texture alone felt incomplete; the tent is the finishing touch (at 1:16 in the video)."},{"t":"img","f":"v03","w":852,"h":480},{"t":"p","x":"到了沙漠后，他和朋友分散开各自寻找特别机位，而分散开的另一层好处是大家可以互相入镜，成为彼此的点睛之笔：用 70-105mm 焦段抓拍远处沙丘在侧光、侧逆光下的层次，正好有人走过，画面就显得非常特别（视频 1:47 处）。","xe":"In the desert he and his friend split up to scout distinctive viewpoints — and splitting up has a bonus: you can wander into each other's frames and become each other's finishing touch. At 70-105mm he captured distant dunes layered in side and semi-back light, just as someone walked through, which makes the image feel singular (at 1:47 in the video)."},{"t":"img","f":"v04","w":852,"h":480},{"t":"h","x":"02 正午出片：换一套用光逻辑","xe":"02 Shooting at Noon: A Different Light Logic"},{"t":"p","x":"很多人以为正午不能拍沙漠，其实可以，只是逻辑和傍晚完全不同。傍晚靠侧光、逆光表现沙丘的光影层次；正午的沙漠几乎没有层次，这时要表现的是色彩、质感和干净的氛围——上面这张 70mm 的照片就拍摄于正午（视频 2:07 处）。","xe":"Many assume the desert is unshootable at noon. It isn't — the logic simply changes. At dusk you rely on side and backlight for chiaroscuro on the dunes; at noon the dunes have almost no layered shadow, so you shoot for color, texture and a clean, minimal mood — the 70mm frame above was taken at midday (at 2:07 in the video)."},{"t":"img","f":"v05","w":852,"h":480},{"t":"p","x":"这张「巧克力沙漠」用的是 105mm。当时 Thomas 发现前景的沙脊弯出一条优雅的曲线，后面的沙山层次又很丰富。拍出这种丝滑巧克力质感的诀窍是逆光，但不要等日落——而是日落前三个小时到日落前一个小时，太阳别太低：逆光把沙脊上半部分打成高光，背光面留下阴影，高光与阴影交织就形成了非常丝滑的质感。当时还幸运地等到了沙漠里的旅游车经过，成了一个独特的瞬间（视频 2:59 处）。","xe":"This \"chocolate desert\" was shot at 105mm. Thomas noticed the foreground ridge curving into an elegant line, with richly layered dunes behind. The secret to that silky chocolate texture is backlight — but not at sunset: shoot between three hours and one hour before sunset, while the sun is still fairly high. The backlight ignites the top of each ridge into a highlight while the shaded faces fall into shadow, and the interplay renders the sand silky. As a bonus, a tour vehicle happened to drive through — a genuinely unique moment (at 2:59 in the video)."},{"t":"img","f":"v06","w":852,"h":480},{"t":"h","x":"03 反向再反向：接片与敦煌长焦","xe":"03 The Opposite of the Opposite: Panoramas and Dunhuang Telephoto"},{"t":"p","x":"如果大家都已经用长焦了呢？那就往更反的方向走——比广角更广的全景接片。在下面这张照片里，沙漠只是一个配角，帐篷和星空才是主角（视频 3:26 处）。特殊焦段从来不是固定答案，「和大家不一样」才是。","xe":"And if everyone is already shooting telephoto? Push the contrarian move further — stitch a panorama, going wider than wide. In the frame below the desert is merely a supporting player; the tent and the Milky Way are the protagonists (at 3:26 in the video). A special focal length is never the fixed answer — \"different from the crowd\" is."},{"t":"img","f":"v07","w":852,"h":480},{"t":"p","x":"同样的思路在敦煌沙漠照样成立：用长焦压缩沙丘的层次、等一丛灌木入画（视频 3:44 处）；抓拍沙脊上行走的路人；或者纯粹拍沙面的质感和纹理。视频里紧接着的三张照片都拍自敦煌——方法不变，大众景点一样能出与众不同的片子（视频 3:58 处）。","xe":"The same thinking holds in the Dunhuang dunes: compress the dunes' layering with a telephoto and wait for a shrub to enter the frame (at 3:44 in the video); snap a walker on a ridge; or shoot pure sand texture and ripple patterns. The three photos that follow in the video were all taken at Dunhuang — same method, and a crowded landmark still yields distinctive images (at 3:58 in the video)."},{"t":"img","f":"v08","w":852,"h":480},{"t":"h","x":"04 来古冰川：超广角钻进冰缝","xe":"04 Laigu Glacier: Going Ultra-Wide Inside the Ice"},{"t":"p","x":"第二个案例是西藏来古冰川。冬天冰湖解冻后很多人前去打卡，如果用普通视角直接拍，就是搜索页里这样的场景——不够震撼，也不够特别（视频 4:09 处）。Thomas 在这里的武器换成了超广角。","xe":"The second case is Laigu Glacier in Tibet. After the frozen lake thaws each winter, plenty of visitors come for the checklist photo — shot normally it looks just like the search results: neither stunning nor special (at 4:09 in the video). Thomas's weapon of choice here switched to the ultra-wide."},{"t":"img","f":"v09","w":852,"h":480},{"t":"p","x":"冰川上有些冰体带有阴影区域，他会钻进类似冰洞的空间里，用超广角把冰洞和缝隙完整取进画面，拍出来的效果非常震撼（视频 4:40 处）。超广角的近大远小在这里把冰壁的包裹感放大到极致，这是普通焦段站在外面永远拍不到的视角。","xe":"Wherever the ice formed shadowed hollows, he climbed into ice-cave-like spaces and used the ultra-wide to take in the full cave and its crevices — the result is genuinely jaw-dropping (at 4:40 in the video). The ultra-wide's exaggerated perspective amplifies the wrapping feel of the ice walls to the extreme: a vantage you simply cannot get from outside with a normal focal length."},{"t":"img","f":"v10","w":852,"h":480},{"t":"p","x":"这条冰缝其实非常矮，只有半个人高，他是趴着钻进去的，然后用超广角取入前景，拍出与众不同的构图（视频 4:52 处）。机位的辛苦换来了视角的稀缺——这正是大众景点里最值钱的东西。","xe":"This ice crevice is barely half a person tall — he crawled in flat on the ground, then used the ultra-wide to include a foreground and build an unusual composition (at 4:52 in the video). The effort of the viewpoint buys scarcity of perspective — the most valuable currency in a crowded landmark."},{"t":"img","f":"v11","w":852,"h":480},{"t":"h","x":"05 黄山：把机位压到最低","xe":"05 Huangshan: Drop the Camera to the Ground"},{"t":"p","x":"黄山的网络照片里，长焦和普通焦段占多数，Thomas 再次反其道而行之，多用超广角去取入非常夸张的前景。比如在著名的始信峰观景台，他把机位压得非常低，把前景的岩石取进画面——恰逢下雪，岩石被洗得特别干净——利用广角的透视和冲击力完成拍摄（视频 5:24 处）。","xe":"Online photos of Huangshan are dominated by telephoto and normal focal lengths, so Thomas again swam upstream: ultra-wide, with aggressively exaggerated foregrounds. At the famous Shixin Peak viewing platform he set the camera extremely low and pulled the foreground rock into the frame — fresh snow had scrubbed it spotless — letting the wide-angle perspective deliver the impact (at 5:24 in the video)."},{"t":"img","f":"v12","w":852,"h":480},{"t":"p","x":"反过来，黄山里很普通的一片树林，他改用长焦，并让队友站在其中，拍出一张带有情绪氛围的森林照片（视频 5:47 处）。同一座山，两套相反的焦段策略，指向同一个原则：视角决定个性。","xe":"Conversely, in an utterly ordinary patch of woods on Huangshan he switched to a telephoto and had a teammate stand among the trunks, producing a forest image full of mood (at 5:47 in the video). One mountain, two opposite focal-length strategies, one principle: perspective is what makes a photo personal."},{"t":"img","f":"v13","w":852,"h":480},{"t":"quote","x":"1. 大众景点出个性照的核心是「反其道而行之」：大家都用广角就用长焦，大家都用长焦就用广角、超广角甚至全景接片；2. 长焦在沙漠里抓纹理、层次和走过的人，正午拍质感与色彩、傍晚拍光影，用光逻辑要跟着时段换；3. 巧克力丝滑质感的诀窍是日落前三小时到一小时的低角度前逆光，太阳不要太低；4. 超广角要配合极端机位——钻冰洞、趴进半人高的冰缝、把相机压到雪地岩石前，用透视换取稀缺视角。","xe":"1. The core of a distinctive photo at a crowded spot is contrarianism: telephoto where the crowd goes wide; wide, ultra-wide or stitched panoramas where the crowd goes long. 2. In the desert, telephoto grabs texture, layered dunes and passersby — shoot texture and color at noon, light and shadow at dusk; the lighting logic must change with the hour. 3. The silky chocolate-dune look comes from low-angle front backlight one to three hours before sunset, with the sun still fairly high. 4. Ultra-wide demands extreme positions — into ice caves, crawling through half-person-height crevices, camera dropped to the snow before a rock — trading effort of viewpoint for scarcity of perspective."}],"titleEn":"Shooting Distinctive Landscapes at Popular Spots: Focal Length Matters"}