{"slug":"focus-bracketing-2023","title":"2023年对焦包围如何拍摄与后期？挪威A7CR+16-35GM二代12张景深合成实战！","author":"Thomas看看世界","date":"2023-09-11","wechat":"https://mp.weixin.qq.com/s?__biz=MzI4NDA5MzE5NQ==&mid=2247498062&idx=2&sn=029a1ce60e2c848cca239f3a2d4e9db2&chksm=eb82072adcf58e3c88c3c3523765a6fd34ebffb3244716376939d860899816e86c172a566509&scene=21#wechat_redirect","blocks":[{"t":"p","x":"今天的风光摄影教程中，我会和大家分享我在2023年，是如何利用相机的自动对焦包围功能进行前期拍摄，以及Helicon Focus软件进行后期景深合成的过程，拍到一张从前到后都清晰的风光照片相比之前真的方便了好多！","b":false,"xe":"In today's landscape tutorial, I'll share how I use the camera's automatic focus bracketing for capture and Helicon Focus for focus stacking in post — getting a front-to-back sharp landscape photo is so much easier than before!"},{"t":"p","x":"这次的案例照片拍摄于挪威Segla峰，全部12张6100万像素原图会提供练习，都是使用索尼A7CR相机与16-35 GM II代镜头拍摄！","b":false,"xe":"The case study was shot at Segla in Norway. All 12 original 61-megapixel frames are provided for practice, shot with the Sony A7CR and 16-35mm GM II lens!"},{"t":"img","f":"img-01","w":1080,"h":608},{"t":"h","x":"视频","xe":"Video"},{"t":"bili","bv":"BV1UH4y1Q7tz","bpic":"bili-1","bt":"2023年对焦包围如何拍摄与后期？挪威A7CR+16-35GM二代12张景深合成实战！"},{"t":"p","x":"这一篇是上面视频的完整图文整理。Thomas 分享了他 2023 年最新的景深合成全流程：前期对焦包围的参数设置、拍摄技巧，以及用 Helicon Focus 堆叠和修补的后期过程。案例拍摄于挪威 Segla 峰，用的索尼 A7CR 机身配 16-35 GM 二代镜头，12 张 6100 万像素原片连同堆叠用的 TIF 文件都提供下载（见文末练习文件链接），可以跟着一起练。","xe":"This is the fully illustrated companion to the video above, covering Thomas's complete 2023 focus-stacking workflow: focus-bracketing settings and field technique, then stacking and retouching in Helicon Focus. The case was shot on Senja island, Norway — a Sony A7CR with the 16-35mm GM II — and all twelve 61-megapixel source frames plus the stacking TIFs are available for download (see the practice-file link at the end), so you can follow along.","b":false},{"t":"p","x":"先看总览。视频开头给出了这次拍摄的完整参数卡：索尼 A7CR、16-35mm f/2.8 GM II、ISO 400、f/14、1/25 秒、16mm 端、12 张对焦包围——下面按「机位与前景、相机设置、底片解析、堆叠、修补、成片」的顺序逐一展开。","xe":"Start with the overview. The video opens with a full spec card of the shoot: Sony A7CR, 16-35mm f/2.8 GM II, ISO 400, f/14, 1/25 s, 16mm, 12 focus-bracketed frames. The sections below follow the same arc: location and foreground, camera setup, reading the frames, stacking, retouching, and the finished image.","b":false},{"t":"img","f":"v01","w":852,"h":480},{"t":"h","x":"01 机位与前景：Segla 峰下的越橘灌木","xe":"01 Location and Foreground: Bilberry under Segla"},{"t":"p","x":"这次的取景地是挪威塞尼亚岛的 Segla 峰。它海拔只有 639 米，却几乎是从峡湾的海平面上拔地而起，垂直的大岩壁显得壮观而崇高（视频 0:57 处）。","xe":"The location this time is Segla on Senja island, Norway. At just 639 meters of elevation it rises almost straight out of the fjord, and its vertical rock wall looks spectacular and sublime (at 0:57 in the video).","b":false},{"t":"p","x":"为了和这样的大岩壁匹配，Thomas 不断尝试寻找前景，最终选中了脚下这片欧洲越橘——在周边一大片浆果灌木里，它颜色最鲜艳、生命力最旺盛。这种向上的、昂扬的生命力，和拔地而起的山峰在精神上正好呼应（视频 1:12 处）。景深合成拍花草近景配大山远景，也正是这个场景的必然选择。","xe":"To match a wall that imposing, Thomas kept testing foregrounds until he settled on the bilberry shrubs at his feet — the most vividly colored, most vigorous patch in the whole berry field. That upward, thriving energy answers the mountain rising from the sea (at 1:12 in the video). Focus stacking is the natural choice for exactly this pairing: lush plants up close, a grand peak far away.","b":false},{"t":"img","f":"v02","w":852,"h":480},{"t":"h","x":"02 相机设置：BRK 对焦包围模式","xe":"02 Camera Setup: the BRK Focus-Bracketing Mode"},{"t":"p","x":"按下相机左键调出拍摄模式列表，选择 BRK Focus（对焦包围），再按右键进入详细设置（视频 1:35 处）。第一个参数是增量，它决定相邻两张照片之间的景深差距，一般设成 4 或者 5 就可以（视频 1:49 处）。","xe":"Press the left button to open the drive-mode list, choose BRK Focus (focus bracketing), then press right to enter its detailed settings (at 1:35 in the video). The first parameter is the step size, which controls the depth-of-field gap between adjacent frames — 4 or 5 works for most cases (at 1:49 in the video).","b":false},{"t":"img","f":"v03","w":852,"h":480},{"t":"p","x":"拍摄张数则设一个比较大的值——20、30 甚至 99 都行（视频 1:59 处）。这个数字只是上限，相机会根据实际情况自行决定：如果它发现拍 3 张景深就已经覆盖完，你设 30 张它也只拍 3 张。继续按右键，把拍摄顺序设为「0 到正无穷远」，曝光平滑可开可关，间隔时间选最短——这种场景光线基本不怎么变化（视频 2:26 处）。","xe":"For the frame count, set a large value — 20, 30, even 99 is fine (at 1:59 in the video). That number is only a ceiling: the camera decides on its own, so if it finds three frames already cover the full depth range, it will shoot three even if you asked for thirty. Press right again to set the shooting order from 0 to infinity, leave exposure smoothing on or off, and choose the shortest interval — the light here barely changes (at 2:26 in the video).","b":false},{"t":"img","f":"v04","w":852,"h":480},{"t":"p","x":"拍摄参数：ISO 400，A 档（光圈优先），光圈 f/14，快门约 1/25 秒（视频 2:37 处，见开头参数卡）。关键的一条是对焦点一定要放到最近处——因为整组包围就是从最近一直到无穷远（视频 2:47 处）。另外光圈不能设得太小（如 f/22）：那样每张的景深太薄、需要的张数太多，户外有风时张数越多，堆叠出错的概率越大，F8 到 F16 之间比较合理（视频 2:56 处）。","xe":"Exposure: ISO 400, Aperture-priority (A) mode at f/14, around 1/25 s (at 2:37 in the video — see the spec card above). The critical part is the initial focus point: set it to the closest distance, because the whole bracket runs from nearest to infinity (at 2:47 in the video). Do not stop down too far either: a tiny aperture makes each frame's depth slice razor thin and multiplies the frame count — and with wind outdoors, more frames means more chances for the stack to go wrong. Somewhere between f/8 and f/16 is sensible (at 2:56 in the video).","b":false},{"t":"img","f":"v05","w":852,"h":480},{"t":"h","x":"03 十二张底片：每张负责一段景深","xe":"03 Twelve Frames, Each Covering One Depth Band"},{"t":"p","x":"把 12 张原片导入电脑后先看第一张。因为对焦点在最近处，放大到 100%，每一片枝叶上的水珠都清晰可见；虽然光圈已经开到 f/14，背景的山峰仍然一片模糊（视频 3:24 处）。","xe":"After importing the twelve frames, start with the first one. Focus was set at the nearest point, so at 100% magnification every water droplet on the leaves is crisp — yet even at f/14 the mountain behind is a complete blur (at 3:24 in the video).","b":false},{"t":"img","f":"v06","w":852,"h":480},{"t":"p","x":"最后一张正好相反：山峰 100% 放大非常清晰，前景的花草却糊掉了（视频 3:39 处）——注意这是 f/14 下的情况，景深范围依然不够。再看中间的编号 6977 那张：只有中间那块石头和下面一点点浆果是实的，更近或更远的地方都不实（视频 3:54 处）。每一张照片都有自己负责的一段景深，后期的任务就是把每张最清晰的部分堆叠到一起。","xe":"The last frame is the mirror image: the peak is razor sharp at 100%, while the foreground plants melt away (at 3:39 in the video) — mind you, still at f/14, proof the depth of field is nowhere near enough. A middle frame, number 6977, is sharp only on the mid-frame rock and a sliver of berries below it; everything nearer or farther is soft (at 3:54 in the video). Each frame owns one band of depth, and the entire job of post is to stack everyone's sharpest band into a single image.","b":false},{"t":"img","f":"v07","w":852,"h":480},{"t":"img","f":"v08","w":852,"h":480},{"t":"h","x":"04 输出 TIF，交给 Helicon Focus 堆叠","xe":"04 Export TIF, Then Stack in Helicon Focus"},{"t":"p","x":"堆叠前先把 RAW 全部输出成 TIF：PS 目前还不支持 A7CR 的 RAW 文件解析，所以 Thomas 用索尼自带的软件选择输出，格式为 16 位 Adobe RGB 的 TIF（视频 4:24 处）。这 12 个 TIF 同样放在了文末的练习文件里。","xe":"Before stacking, convert everything to TIF: Photoshop cannot yet parse A7CR RAW files, so Thomas exports from Sony's own software as 16-bit Adobe RGB TIFs (at 4:24 in the video). These twelve TIFs are included in the practice files linked at the end.","b":false},{"t":"p","x":"堆叠工具这次用的是 Helicon Focus——一款专门做景深合成的软件，功能和算法都比 PS 自带的景深堆叠更强大（视频 4:56 处）。操作很简单：点左上角的加载图标，Ctrl+A 全选 12 张 TIF 打开；渲染方式（Rendering Method）选择 Method B，下面的半径和平滑度保持默认的 8 和 4，绝大部分情况都够用；然后点击 Render，软件自动运算生成堆叠结果（视频 5:31 处）。","xe":"For stacking he uses Helicon Focus this time — dedicated focus-stacking software whose algorithms outclass Photoshop's built-in stacker (at 4:56 in the video). The workflow is simple: click the load icon at the top left, select all twelve TIFs with Ctrl+A and open them; set the Rendering Method to Method B, keep radius and smoothing at their defaults of 8 and 4 (enough for the vast majority of cases), then hit Render and let it compute (at 5:31 in the video).","b":false},{"t":"img","f":"v09","w":852,"h":480},{"t":"img","f":"v10","w":852,"h":480},{"t":"p","x":"运算很快，右侧就生成了最终的堆叠效果图，每个细节看起来都非常清晰。软件还自带对比功能：任选一张原图和成片并排放——比如编号 6970 的原图前景清晰、背景模糊，而成片从前到后都是清晰的（视频 6:09 处）。","xe":"The render finishes quickly and the stacked result appears on the right, sharp in every detail. A built-in compare view lets you put any source frame side by side with the result — frame 6970, for instance, is sharp up front and blurry behind, while the merged file is sharp from front to back (at 6:09 in the video).","b":false},{"t":"img","f":"v11","w":852,"h":480},{"t":"h","x":"05 风的错位：用 Retouching 修补","xe":"05 Wind Misalignment: Fix It with Retouching"},{"t":"p","x":"自动堆叠不等于万事大吉。把成片放到 100%，逐处仔细检查每个细节是否完美无瑕——户外照片有一个最大的变量就是风：植被被吹得摇来摇去，堆叠时就会产生错位（视频 6:23 处）。视频中就有明显例子：一根分成两叉的枝叶，算法把多张里「这里清晰」的部分都融合了进来，风吹动之下就形成了错位（视频 6:51 处）。","xe":"Automatic stacking is not the finish line. Zoom the result to 100% and audit every detail — outdoors, the biggest variable is wind: plants sway between frames and the stack ends up misaligned (at 6:23 in the video). The video shows a clear case: a forked leaf sprig where the algorithm merged the \"sharp here\" patches from many frames, and the wind turned that into a doubled, ghosted edge (at 6:51 in the video).","b":false},{"t":"img","f":"v12","w":852,"h":480},{"t":"p","x":"修补就在 Helicon Focus 里完成：切到第二个菜单 Retouching，在下方原图列表里找一张——你要修补的部位在它是清晰的（比如编号 6974 那张）——然后对着错位的地方涂抹即可（视频 7:14 处）。涂抹时注意画笔的大小和硬度，视频里硬度用的 50%；更要留意分界线：随手乱涂会制造新的错位，尽量沿着天然的分界线——比如叶片的边缘——去涂，就不会引入新的问题（视频 7:44 处）。","xe":"The fix lives in the same program: switch to the second tab, Retouching, pick a source frame from the filmstrip below in which the problem area is sharp — frame 6974, say — and simply paint over the misaligned patch (at 7:14 in the video). Watch the brush size and hardness (50% in the video), and mind the boundaries: careless strokes create new misalignment, so follow natural edges — the rim of a leaf, for example — and the patch will blend in cleanly (at 7:44 in the video).","b":false},{"t":"img","f":"v13","w":852,"h":480},{"t":"p","x":"把画面里其他几处错位一一涂掉。如果遇到更极端的情况——无论怎么涂，中间总留着一小段模糊或错位——就回到 PS 里用仿制图章或者内容识别填充做进一步解决（视频 8:21 处）。最后点击最右边的 Saving 图标，把修好的成片保存成一张新的 TIF 文件（视频 8:50 处）。","xe":"Work through the other misaligned spots one by one. For the extreme case — a sliver of blur or ghosting that survives no matter how you paint — fall back to Photoshop's Clone Stamp or Content-Aware Fill (at 8:21 in the video). Finally, click the rightmost Saving icon and write the repaired master out as a fresh TIF (at 8:50 in the video).","b":false},{"t":"h","x":"06 保存成片，再按喜好调色","xe":"06 Save the Master, Then Grade to Taste"},{"t":"p","x":"生成 TIF 之后，它就是一张普通照片了：从前景到背景，这张文件把 12 张底片各自最清晰的地方合并在了一起，从前到后全部清晰（视频 9:10 处）。接下来像正常照片一样修图即可。","xe":"Once the TIF is out, it behaves like any ordinary photo: the file carries the sharpest pixels from all twelve frames merged front to back (at 9:10 in the video). From here, edit it exactly as you would any image.","b":false},{"t":"p","x":"Thomas 做了一个简单的调色，大概调整成了最终的样子（视频 9:18 处）。调色这一步完全可以根据自己的审美和喜好做个性化处理，视频里就没有过多展开了——景深合成的核心流程，到这张全清晰的底片为止已经完整交付。","xe":"Thomas applied a light grade to reach roughly the final look (at 9:18 in the video). Grading is a matter of personal taste, so the video stops there — the core focus-stacking pipeline is fully delivered with that edge-to-edge sharp master file.","b":false},{"t":"img","f":"v14","w":852,"h":480},{"t":"quote","x":"1. 对焦包围设置：增量 4-5，张数设大值（相机会自动少拍），顺序 0 到无穷远，对焦点放最近，光圈 F8-F16 之间；2. 每张底片只负责一段景深——最近一张水珠清晰山峰糊，最后一张反之，堆叠就是把各张最清晰处合并；3. PS 解析不了新机 RAW 时，用索尼自带软件输出 16 位 Adobe RGB TIF，Helicon Focus 选 Method B、半径 8 平滑 4 直接 Render；4. 风吹植被会造成堆叠错位：100% 逐处检查，Retouching 里找该部位清晰的原图沿叶缘涂抹，顽固处交给 PS 仿制图章或内容识别填充。","xe":"1. Bracketing setup: step size 4-5, frame count set high (the camera stops early), order 0 to infinity, initial focus at the nearest point, aperture between f/8 and f/16; 2. Each frame owns one depth band — the nearest frame keeps droplets sharp and blurs the peak, the last one reverses it, and stacking merges everyone's sharpest zone; 3. When Photoshop can't parse a new body's RAW, export 16-bit Adobe RGB TIFs from Sony's software and let Helicon Focus stack with Method B, radius 8, smoothing 4; 4. Wind sway causes stack misalignment: audit at 100%, retouch from the source frame where the area is sharp, painting along leaf edges, and hand stubborn spots to the Clone Stamp or Content-Aware Fill.","b":false},{"t":"h","x":"练习文件下载：","xe":"Practice Files Download:"},{"t":"p","x":"链接: https://pan.baidu.com/s/1L1DnGXVhlBf7Amp-wGhJKA","b":false,"xe":"Link: https://pan.baidu.com/s/1L1DnGXVhlBf7Amp-wGhJKA"},{"t":"p","x":"提取码:1234","b":false,"xe":"Access code: 1234"}],"titleEn":"Focus Bracketing in 2023: 12-Frame Focus Stack with Sony A7CR + 16-35mm GM II in Norway"}