{"slug":"focus-stacking","title":"摄影中的景深合成，你想知道的都在这儿！","author":"Thomas看看世界","date":"2019-06-02","wechat":"https://mp.weixin.qq.com/s?__biz=MzI4NDA5MzE5NQ==&mid=2247488987&idx=1&sn=6ced5ac0c8201ab9027be619d3377eaa&chksm=eb81ebbfdcf662a9f0ca87ad141b6155ba74af82586b619fbf565f896c31e6d2fca5f2617434&scene=21#wechat_redirect","blocks":[{"t":"h","x":"Thomas看看世界","xe":"Thomas Chu Photo"},{"t":"p","x":"景深合成是现代风光摄影、静物摄影、微距摄影中，被广泛应用的一种前后期技术，可以让我们在复杂条件下，也获得一张从前到后都清晰无比的照片。","b":false,"xe":"Focus stacking is a capture-and-post technique widely used in modern landscape, still-life and macro photography, delivering photos that are tack-sharp from front to back even in difficult conditions."},{"t":"p","x":"以下这篇文章中，极影的姚明来老师，会对景深合成做一个详细的梳理和总结。","b":false,"xe":"In the article below, AdventureX's teacher Miller (Yao Minglai) gives a detailed, systematic summary of focus stacking."},{"t":"img","f":"img-02","w":1080,"h":516},{"t":"p","x":"上面的这一系列的图片，都来自极影AX成员—miller姚明来。","b":false,"xe":"The series of images above all come from AdventureX member Miller (Yao Minglai)."},{"t":"p","x":"这种用超广角拍摄的极具冲击力的图片，需要将广角非常贴近前景，从而营造出纵深感和夸张的畸变。","b":false,"xe":"Such dramatic ultra-wide images require placing the wide-angle lens very close to the foreground, creating depth and exaggerated distortion."},{"t":"img","f":"img-03","w":1080,"h":1620},{"t":"p","x":"这时候就会出现一个问题，即使你将镜头的光圈调到F64，也无法获得前景至远景都非常清晰锐利的图片（如上图）","b":false,"xe":"That creates a problem: even stopping down to f/64, you can't get a frame that's sharp from the nearest foreground to the distant background (as above)."},{"t":"p","x":"这时候，必须用到一个技术——景深合成。而下文，就是最全的景深合成攻略。","b":false,"xe":"This is where focus stacking becomes essential. What follows is the most complete focus-stacking guide you'll find."},{"t":"h","x":"1. 前期拍摄","xe":"1. On-Location Capture"},{"t":"p","x":"景深合成的第一步，是获得一组焦平面覆盖所要拍摄的画面全景深的图片。","b":false,"xe":"The first step of focus stacking is capturing a set of frames whose focal planes together cover the full depth of the scene."},{"t":"h","x":"情况1：相机有“焦距变化拍摄”功能","xe":"Case 1: Your Camera Has 'Focus Shift Shooting'"},{"t":"p","x":"当你手中的相机是尼康D850这类，拥有“焦距变化拍摄”功能的相机。那么可以利用机身自带的全景深拍摄功能，轻松获得一组焦平面从最近到无穷远的图片。","b":false,"xe":"If your camera — like the Nikon D850 — has a 'focus shift shooting' function, you can use the body's built-in full-depth capture to easily get a set of frames with focal planes running from nearest to infinity."},{"t":"p","x":"请看下方极影AX成员-周游为大家带来的现场视频演示","b":false,"xe":"Watch the on-location video demonstration by AdventureX member Zhou You below."},{"t":"video"},{"t":"h","x":"情况2：相机没有“焦距变化拍摄”功能","xe":"Case 2: Your Camera Lacks 'Focus Shift Shooting'"},{"t":"p","x":"当你手中的相机不具备这种自动切换焦点包围拍摄的功能时，就需要手动拍摄这一系列图片。","b":false,"xe":"If your camera can't automatically bracket focus, you need to shoot the series manually."},{"t":"h","x":"(1）拍摄前的准备：","xe":"(1) Preparation:"},{"t":"p","x":"首先，你要带上一个足够稳固的三脚架，相机一些轻微的晃动都会给你的后期拼合制造麻烦。当然，还需要一根靠谱的快门线，这可以有效避免按动快门时的抖动。","b":false,"xe":"First, bring a sturdy tripod — even slight camera movement complicates the later blend. A reliable shutter release cable is also needed to avoid shake when pressing the shutter."},{"t":"p","x":"（不推荐用延时拍摄的方式代替快门线，在光线瞬息万变的场合，延时的那2秒很可能会让你错过唯一的机会）","b":false,"xe":"(Using the self-timer instead of a cable release is not recommended: in fast-changing light, those 2 seconds of delay may cost you the only moment.)"},{"t":"h","x":"（2）拍摄时的设置：","xe":"(2) Settings:"},{"t":"p","x":"当你确定好构图，在拍摄前的一步就是对相机进行一些设置。","b":false,"xe":"Once your composition is set, configure the camera before shooting."},{"t":"p","x":"1. 将相机设置为光圈优先的拍摄模式。","b":false,"xe":"1. Set the camera to aperture-priority mode."},{"t":"p","x":"有人问为什么不用m档拍摄，这意味着曝光量锁定不变，那岂不是在后期拼合时更加容易吗？","b":false,"xe":"Some ask: why not Manual mode, locking the exposure so the blend is easier?"},{"t":"p","x":"虽然m档能够让拍摄的一系列素材的曝光完全一致，但光圈优先能够根据环境光立即算出一个合理的曝光参数，在某些风云突变，光线稍纵即逝的场合，我们更需要的是速度。","b":false,"xe":"Manual does keep the series perfectly consistent, but aperture priority instantly computes a reasonable exposure for changing light. When conditions shift fast and light is fleeting, speed matters more."},{"t":"p","x":"2. 设置照片质量为RAW。以便保留更多的暗部高光细节，让后期有更大空间。","b":false,"xe":"2. Set image quality to RAW, preserving more highlight and shadow detail for greater editing latitude."},{"t":"img","f":"img-04","w":640,"h":426},{"t":"p","x":"3. 将镜头由自动对焦调为手动对焦，也就是把镜头从AF拨到MF。","b":false,"xe":"3. Switch the lens from autofocus to manual focus — AF to MF."},{"t":"img","f":"img-05","w":640,"h":480},{"t":"p","x":"4. 如果你的广角镜头有防抖，那么最好关闭防抖，防止在三脚架上时，防抖功能错误工作，反而带来模糊的照片。","b":false,"xe":"4. If your wide-angle lens has stabilization, turn it off: on a tripod it can misfire and actually blur the photos."},{"t":"p","x":"5. 设置相机测光模式为全局测光（有的相机为平均测光、3D测光）","b":false,"xe":"5. Set the metering mode to evaluative/matrix (called average or 3D metering on some cameras)."},{"t":"img","f":"img-06","w":640,"h":426},{"t":"p","x":"6.设置光圈","b":false,"xe":"6. Set the aperture."},{"t":"p","x":"如果拍摄时风很大并且前景的光线很暗，往往使用较大的光圈配合高iso，如f4 ISO800，才能提高快门速度定格住前景。","b":false,"xe":"In strong wind with a dim foreground, use a larger aperture with higher ISO — e.g. f/4 at ISO 800 — to keep the shutter fast enough to freeze the foreground."},{"t":"p","x":"如果现场几乎没有风，前景光线也不错，可以将光圈缩的比较小，比如f11、f16。光圈越小，景深越深，可以在拍摄时减少张数，提高效率。","b":false,"xe":"With little wind and decent light, stop down further — f/11, f/16. The smaller the aperture, the deeper the depth of field, so fewer frames are needed and efficiency rises."},{"t":"h","x":"（3）拍摄时的操作：","xe":"(3) Shooting Procedure:"},{"t":"p","x":"首先，将相机镜头的对焦环拧到最近处。镜身上有个透明的小窗口，这个窗口可以直观的观察镜头焦距的变化。","b":false,"xe":"First, turn the lens focus ring to the nearest position. The small transparent window on the barrel shows the focus distance change directly."},{"t":"p","x":"索尼等微单相机，可以通过相机屏幕内的距离显示，观察镜头的实时焦距。","b":false,"xe":"On mirrorless cameras like Sony, you can read the real-time focus distance on the camera screen."},{"t":"img","f":"img-07","w":640,"h":853},{"t":"p","x":"示例的是佳能16-35mm镜头，对于这枚镜头，就是拧到最近对焦距离处，也就是0.28mi。","b":false,"xe":"The example here is the Canon 16-35mm lens: turn to its minimum focus distance, 0.28 m."},{"t":"p","x":"然后按下快门拍摄第一张照片。","b":false,"xe":"Then press the shutter for the first frame."},{"t":"p","x":"接着将镜头对焦环往数值较大的方向拧动一点，再按动快门拍第二张。","b":false,"xe":"Next, turn the focus ring slightly toward larger distances and shoot the second frame."},{"t":"p","x":"接下来再往数值更大的方向拧动一点，再拍第三张。。。。。。直至镜头拧到无穷远处拍下最后一张。","b":false,"xe":"Keep turning slightly further and shoot the third… and so on, until the ring reaches infinity for the final frame."},{"t":"p","x":"比如我们可以让镜头分别对焦0.28米, 0.35米, 0.5米, 1米, 3米, 无穷远，各自拍摄一张照片。","b":false,"xe":"For example: focus at 0.28 m, 0.35 m, 0.5 m, 1 m, 3 m and infinity, one frame each."},{"t":"img","f":"img-08","w":640,"h":480},{"t":"p","x":"佳能、尼康、索尼的广角镜头，一般无穷远都不是把镜头拧到底。比如佳能镜头，就是如上图那样，拧到无穷远处再回来一点，让刻度线刚好在无穷远刻度线前方的L形线条的竖线处，才是真正的无穷远。","b":false,"xe":"On Canon, Nikon and Sony wide-angles, infinity is usually NOT at the very end of the ring's travel. On Canon lenses, as shown above, turn to infinity then back slightly so the mark aligns with the vertical line of the L-shaped mark just before the infinity symbol — that's true infinity."},{"t":"p","x":"至于拍摄时拧动的幅度，就需要经验了，如果你第一次尝试这种技术，同时光圈开的比较大，或者是在拍摄一个非常重要的场景，那么可以拧的幅度小一些，多拍几张不同景深的，这样更安全。一般来说，拍摄个7，8张也就基本能覆盖从最近一直到最远的全景深了。","b":false,"xe":"How far to turn between frames takes experience. On your first attempt, with a wide aperture, or for a very important scene, turn less and shoot more frames — safer. Generally, 7-8 frames cover the full depth from nearest to farthest."},{"t":"p","x":"而如果拍摄时光线充足，光圈缩的比较小，可以拧的幅度大一些，有时3-4张即可覆盖全景深。","b":false,"xe":"With ample light and a small aperture, you can turn further between frames — sometimes 3-4 frames cover the full depth."},{"t":"h","x":"小建议：","xe":"Tip:"},{"t":"p","x":"拍完一组景深后，保险起见，通常会再多做一组景深的拍摄，确保万无一失。","b":false,"xe":"After finishing one focus series, shoot a second full series as insurance — better safe than sorry."},{"t":"p","x":"手动景深合成的视频，请看下方极影AX成员-姚明来在山区为大家带来的现场示范","b":false,"xe":"For a video of manual focus stacking, watch AdventureX member Miller's on-location demonstration in the mountains below."},{"t":"video"},{"t":"h","x":"2. 后期操作","xe":"2. Post-Processing"},{"t":"h","x":"方法1：Photoshop自动合成","xe":"Method 1: Automatic Blending in Photoshop"},{"t":"h","x":"1. 筛选","xe":"1. Culling"},{"t":"p","x":"首先将景深合成的几组照片导入到lightroom进行筛选，重复比对以及放大细节来确定保留下几组中的一组。那组筛选出的照片就是我们最后要进行景深合成的素材了。","b":false,"xe":"First import your focus-stacking sets into Lightroom for culling. Compare the sets and zoom into details to decide which set to keep — that becomes your stacking material."},{"t":"p","x":"接着放大查看留下的那组照片中的每一张图，比对焦点的位置以及各张照片清晰的区域。","b":false,"xe":"Then examine each frame in the chosen set, comparing focus positions and the sharp zones of each."},{"t":"p","x":"因为在转动变焦环拍摄时，由于拧动幅度的大小，总会有一些照片的清晰区域是比较类似和重叠的。这一步就是删去一组照片中焦平面重叠比较多的那几张图，最后只留焦平面基本可以互补的那几张。","b":false,"xe":"When turning the focus ring, some frames inevitably have similar, overlapping sharp zones. Delete the frames whose focal planes overlap heavily, keeping only those whose planes complement each other."},{"t":"p","x":"这一步不仅可以减少拼合时计算机运行的时间，更重要的意义在与如果拍摄的时候有风，前景的花草一定会有位移，而如果很多张一起放进去拼合，就会干扰计算机拼合时的算法，产生错位和重影。","b":false,"xe":"This not only reduces the computer's blending time — more importantly, if it was windy and the foreground flowers or grass moved, too many frames confuse the blending algorithm, causing misalignment and ghosting."},{"t":"img","f":"img-09","w":484,"h":728},{"t":"p","x":"上图的作者是极影AX成员—史炎冰。拍摄的条件就是如我说的那种大风的天气，风很大，前景花草的位移很厉害。下面截取了他在作品下方的描述，大家可以体会一下拍摄以及合成时的艰难：","b":false,"xe":"The image above is by AdventureX member Shi Yanbing, shot in exactly the windy conditions I described — strong wind, heavy foreground movement. Below is his description under the work, so you can feel how hard the shooting and blending were:"},{"t":"img","f":"img-10","w":369,"h":840},{"t":"h","x":"2.调整","xe":"2. Adjusting"},{"t":"p","x":"在lightroom里对照片进行一个基础的调整，为后续在ps中的拼合打好基础。","b":false,"xe":"Make basic adjustments in Lightroom to lay the groundwork for blending in Photoshop."},{"t":"p","x":"通常矫正一下曝光，对照片做一个基础的调色，降噪锐化等。当做完针对某张照片的调整后，需要将这个效果应用到这一组的所有图片上。","b":false,"xe":"Typically: correct exposure, apply basic grading, denoise and sharpen. After adjusting one photo, apply the same settings to the entire set."},{"t":"img","f":"img-11","w":640,"h":360},{"t":"p","x":"选中所有图片，点击“同步设置”，将所有选项都勾上，然后点击“同步”。那样针对某一张照片的所有调整就被同步复制到了所有图片上，这样呈现出来的效果也是一致的。","b":false,"xe":"Select all the photos, click 'Sync Settings', check every option, then 'Synchronize'. All adjustments from the one photo are copied to the whole set, keeping their appearance consistent."},{"t":"p","x":"小建议：","b":false,"xe":"Tip:"},{"t":"p","x":"如果拍摄的时候光线变化很快，可能每张照片的曝光会有一些差别，这就需要在同步设置以后对每张照片进行单独的调整，保证他们的亮度和白平衡大致相似。","b":false,"xe":"If the light changed quickly during shooting, exposures may differ between frames. After syncing, fine-tune each frame individually so brightness and white balance are roughly equal."},{"t":"h","x":"3.合成","xe":"3. Blending"},{"t":"p","x":"lr里完成对照片基础调整后，接着把所有图片导入到ps中。","b":false,"xe":"With basic adjustments done in Lightroom, import all the images into Photoshop."},{"t":"img","f":"img-12","w":640,"h":360},{"t":"p","x":"选中所有图片，点击右键，在弹出的窗口中选择“在应用程序中编辑”，然后再点击“在photoshop中作为图层打开”。","b":false,"xe":"Select all photos, right-click, choose 'Edit In' → 'Open as Layers in Photoshop'."},{"t":"p","x":"这样所有的图片就自动载入到ps中了，并且作为图层叠加在同一个画布中。","b":false,"xe":"All images now load into Photoshop automatically, stacked as layers in one document."},{"t":"img","f":"img-13","w":640,"h":360},{"t":"p","x":"接着全选图层，点击ps上方工具栏的“编辑-自动对齐图层”，那样，所有图层就被软件自动对齐了。","b":false,"xe":"Then select all layers and click Edit → Auto-Align Layers — the software aligns them for you."},{"t":"img","f":"img-14","w":640,"h":360},{"t":"p","x":"这个对齐的操作是为了克服镜头的呼吸效应。","b":false,"xe":"This alignment counteracts lens breathing."},{"t":"p","x":"当我们在拧动焦距环时，镜头会移动浮动镜片来对焦，浮动镜片的移动必然带来光学结构的改变，因此焦距就会发生变化。","b":false,"xe":"When you turn the focus ring, the lens moves its floating elements to focus, and that movement necessarily changes the optical structure — so the focal length shifts slightly."},{"t":"p","x":"所以虽然机位固定，但是拍摄出的画面一定有轻微的变形跟位移，这时就要依赖ps强大的对齐功能了。","b":false,"xe":"So even with the camera fixed, the frames show slight distortion and displacement — which is where Photoshop's powerful alignment comes in."},{"t":"img","f":"img-15","w":640,"h":360},{"t":"p","x":"自动对齐以后，画面的周围有白边，这就是程序对图像进行拉伸匹配像素时出现空白的多余像素。","b":false,"xe":"After auto-alignment, white edges appear around the frame — blank extra pixels from the program stretching images to match."},{"t":"img","f":"img-16","w":640,"h":360},{"t":"p","x":"对齐以后，就是要将图片融合在一起，还是全选图层，点击“编辑-自动混合图层”","b":false,"xe":"Next, blend the images: still with all layers selected, click Edit → Auto-Blend Layers."},{"t":"p","x":"在跳出的对话框中选择“堆叠图像”，同时勾选“无缝色调和颜色”，再点击确定，软件就开始自动融合。","b":false,"xe":"In the dialog, choose 'Stack Images' and check 'Seamless Tones and Colors', then OK — the software starts blending automatically."},{"t":"img","f":"img-17","w":640,"h":360},{"t":"p","x":"下图是最后融合完的图像，每个图层的旁边都多了蒙版，这就是软件自动计算生成的。这个功能能够计算抓取出每个图层最清晰的部分然后进行融合。","b":false,"xe":"Below is the blended result. Each layer now carries a mask, computed automatically: the function finds and keeps the sharpest part of every layer."},{"t":"img","f":"img-18","w":640,"h":360},{"t":"p","x":"接着我们将图层合并，就获得了一张从前到后都清晰的混合图层。","b":false,"xe":"Flatten the layers and you have one blended image that's sharp from front to back."},{"t":"p","x":"如果在拍摄时没用三脚架或者现场有很大的风，就会造成图片中元素的位移和晃动，这时候不能够完全依赖ps软件的自动合成。要在这一步拼合前追加一步，就是手动调整各个图层的蒙版，用笔刷刷取清晰的部分，这个过程比较考验技术以及花费时间。","b":false,"xe":"If you shot without a tripod or in strong wind, elements will have shifted — you can't rely entirely on auto-blending. Before this merge step, add one manual step: adjust each layer's mask by hand, painting in the sharp areas with a brush. It takes skill and time."},{"t":"img","f":"img-19","w":640,"h":360},{"t":"p","x":"合并图层后，用裁剪工具裁去画面周围空白以及模糊的部分。所以我们在拍摄时要尽量在构图上留有余地，给后期留下裁剪的空间。","b":false,"xe":"After flattening, crop away the blank and blurred edges with the Crop tool. So leave breathing room in your composition when shooting — space for the post-crop."},{"t":"img","f":"img-20","w":640,"h":360},{"t":"p","x":"这就是最后裁剪完的照片，我们可以看到画面从最近到最远都是清晰锐利的。","b":false,"xe":"Here's the final cropped photo — sharp from the nearest to the farthest element, as you can see."},{"t":"img","f":"img-21","w":640,"h":360},{"t":"h","x":"方法2：专业景深合成软件Helicon Focus 6 合成","xe":"Method 2: Dedicated Software — Helicon Focus 6"},{"t":"p","x":"Photoshop功能虽然多样，但在一些具体的应用上，算法还有一些缺陷。因此市场上出现了一些细分的专业摄影应用程序，比如PTGUI，就拥有比PS强大很多的全景拼接功能。","b":false,"xe":"Photoshop is versatile, but its algorithms have weaknesses in specific applications — hence specialized tools: PTGui, for example, stitches panoramas far better than Photoshop."},{"t":"p","x":"而对于景深合成而言，世面上也拥有一款更加强大的软件－Helicon Focus。这款软件拥有更优化的算法，合成效果常常比PS更加完美。这款软件的操作步骤如下。","b":false,"xe":"For focus stacking, there's likewise a more powerful option — Helicon Focus, whose optimized algorithms often produce more perfect blends than Photoshop. Here's the workflow."},{"t":"p","x":"1. LR对照片进行基础参数调节，并同步批处理后导出TIFF格式。","b":false,"xe":"1. In Lightroom, make basic adjustments, sync them across the set, and export as TIFF."},{"t":"img","f":"img-22","w":1080,"h":688},{"t":"p","x":"2. 将所有景深合成的素材载入到Helicon focus6 软件中。","b":false,"xe":"2. Load all the stacking frames into Helicon Focus 6."},{"t":"img","f":"img-23","w":1080,"h":688},{"t":"p","x":"3. 渲染方法选择 B:景深图 然后点击渲染按钮。","b":false,"xe":"3. Choose render method B: Depth Map, then click Render."},{"t":"img","f":"img-24","w":1080,"h":689},{"t":"p","x":"一键直接生成景深合成后的图像（右侧，预览图），然后保存成果文件即可。","b":false,"xe":"One click generates the stacked image (right, preview) — then save the result file."},{"t":"img","f":"img-25","w":1080,"h":693},{"t":"p","x":"我们可以放大局部查看一下合成的结果，可以看到花茎的茸毛都锐利清晰，而且地上远处的小花也很锐利。","b":false,"xe":"Zoom in to inspect the blend: even the fuzz on the flower stems is razor-sharp, and the tiny distant flowers on the ground are sharp too."},{"t":"img","f":"img-26","w":1080,"h":693},{"t":"p","x":"放大看远处的山峰和近处的花骨朵同样清晰。可见Helicon Focus这个软件暴力景深合成是非常棒的，但是这个软件是收费软件。","b":false,"xe":"Zoomed in, the distant peak and the nearby bud are equally crisp. Helicon Focus's brute-force stacking is excellent — but it's paid software."},{"t":"h","x":"方法3：Photoshop手动蒙版合成","xe":"Method 3: Manual Mask Blending in Photoshop"},{"t":"p","x":"对于大部分照片而言，手动蒙版合成方便准确，不需要用额外的收费软件。具体的操作方法在下个视频中有演示。","b":false,"xe":"For most photos, manual mask blending is convenient and precise, with no paid software needed. The video below demonstrates the exact procedure."},{"t":"bili","bv":"BV1Yb411w7tg","bpic":"bili-1","bt":"风光摄影景深合成后期要点"},{"t":"p","x":"这一篇视频是文中景深合成教程的实操演示。上面的文字教程已经把前期拍摄与三种后期方法讲得非常完整，这段 17 分钟的视频则用一组雪山与前景花丛的实拍底片，把 Photoshop 里的每一步完整跑了一遍——特别是自动对齐的「呼吸效应」陷阱、自动合成的蒙版黑斑修复，以及全程手动合成的笔刷技巧。下面按视频顺序整理这些实操要点。","xe":"This video is the hands-on companion to the focus-stacking tutorial above. The text already covers field technique and three blending methods in full; this 17-minute video runs the entire Photoshop pass on a real pair of frames — snow peaks over foreground blossoms — including the focus-breathing trap of auto-alignment, repairing the black blotches auto-blend leaves in its masks, and the brush craft of fully manual stacking. The practical points are transcribed below in video order.","b":false},{"t":"p","x":"先看成片：两张底片合成之后，近处的花丛与远处的雪峰同时清晰锐利（视频 16:29 处为合成完成的效果）。","xe":"Start with the result: once the two frames are blended, the near blossoms and the distant snow peaks are sharp at the same time (the finished blend at 16:29 in the video).","b":false},{"t":"img","f":"v01","w":852,"h":480},{"t":"h","x":"01 原片：两张底片的分工","xe":"01 The Frames: Dividing the Focusing Work"},{"t":"p","x":"拍摄参数值得注意：光圈 F16、ISO200、快门 1/250 秒（视频 0:33 处）。除非风大得必须用更小的光圈换取更快的快门，Thomas 做景深合成一般就用 F8-F16 的小光圈——景深范围大，两张就能覆盖全景；若开 F4 得拍三四张。ISO 提到 200 是为了让快门更快，避免风中的杂草在慢门下糊成拉丝（视频 1:44 处）。","xe":"The settings deserve note: F16, ISO 200, 1/250 s (at 0:33 in the video). Unless wind forces a tiny aperture for a faster shutter, Thomas stacks at small apertures of F8-F16 — the wide focus range means two frames cover the scene, whereas F4 would take three or four. ISO 200 buys a faster shutter so wind-blown grass does not smear into streaks (at 1:44).","b":false},{"t":"img","f":"v02","w":852,"h":480},{"t":"img","f":"v03","w":852,"h":480},{"t":"p","x":"两张底片这样分工：第一张对前景的花丛对焦——16mm 广角下前景只有 40 厘米远，此时远处雪山已经糊成一团；第二张并不对雪山对焦，而是对中景的植被对焦，借 F16 的大景深让中景与雪山同时清晰。两相叠加，正好无缝（视频 2:36 处）。","xe":"The two frames split the work: the first focuses on the foreground blossoms — at 16mm the flowers sit only 40cm away and the peaks melt into mush; the second focuses not on the peaks but on the midground vegetation, letting F16's depth hold both midground and mountains sharp. Together they tile the scene perfectly (at 2:36 in the video).","b":false},{"t":"h","x":"02 合成前：对齐与命名","xe":"02 Before Blending: Align and Label"},{"t":"p","x":"进 Photoshop 后，用移动工具把一张图按住 Shift 拖进另一张的文件（自动居中对齐），再把图层改名——上层是「前景」、下层是「背景」，避免后面弄混（视频 3:33 处）。最关键的一步是先执行编辑 → 自动对齐图层：镜头变换对焦距离时有「呼吸效应」，焦段会轻微变化，不对齐的话后面全是瑕疵（视频 4:24 处，对齐参数选自动即可）。","xe":"In Photoshop, drag one image into the other's document with the Move tool while holding Shift (it centers automatically), then rename the layers — \"foreground\" on top, \"background\" below — so nothing gets mixed up later (at 3:33 in the video). The crucial step is Edit → Auto-Align Layers first: lenses \"breathe\" as focus distance changes, shifting focal length slightly, and skipping alignment poisons every later step (at 4:24; the Auto option is fine).","b":false},{"t":"img","f":"v05","w":852,"h":480},{"t":"img","f":"v04","w":852,"h":480},{"t":"h","x":"03 自动合成：快，但有黑斑","xe":"03 Auto-Blend: Fast but Blotchy"},{"t":"p","x":"自动路线只要一步：编辑 → 自动混合图层，混合方法选「堆叠图像」（视频 5:16 处）。两张曝光色彩一致就不用勾「无缝色调和颜色」；「内容识别填充透明区域」一般不勾。PS 会为每个图层自动生成蒙版，白色显示、黑色隐藏，几秒钟就拼出一张前后皆清的照片（视频 6:27 处）。","xe":"The automatic route is one step: Edit → Auto-Blend Layers, choosing \"Stack Images\" (at 5:16 in the video). Skip \"Seamless Tones and Colors\" when exposure matches, and generally leave \"Content-Aware Fill Transparent Areas\" unchecked. Photoshop writes a mask per layer — white reveals, black conceals — and within seconds produces an edge-to-edge sharp frame (at 6:27).","b":false},{"t":"img","f":"v06","w":852,"h":480},{"t":"img","f":"v07","w":852,"h":480},{"t":"p","x":"但电脑分不清哪里真的对焦准确：背景图层的蒙版本该整片是白，却出现许多黑色斑块，对应区域露出了下面模糊的图层，在雪山中间形成斑斑驳驳的焦点失误（视频 7:10 处）。修复很简单：按 X 键切换黑白前景色，用白色画笔把蒙版上该是白的区域涂白，模糊区域用黑色涂回；如果涂完后露出一块透明——说明两个图层的蒙版同时是黑的——就把下层蒙版改回白色再继续（视频 7:52 处）。","xe":"But the computer cannot really tell what is in focus: the background layer's mask should be white across the peaks, yet black blotches appear, exposing the blurry layer beneath and speckling the mountains with focus failures (at 7:10 in the video). The fix is easy: press X to swap colors, paint the mask white where it should be white, black where blurred; and if a transparent hole opens up — both masks are black there — flip the lower mask back to white and continue (at 7:52).","b":false},{"t":"img","f":"v08","w":852,"h":480},{"t":"h","x":"04 手动合成：笔刷硬度七八十","xe":"04 Manual Blend: Brush Hardness 70-80"},{"t":"p","x":"Thomas 处理大部分照片其实直接手动合成：回到对齐后那一步，给背景图层建一个白色蒙版，用黑色画笔把不需要背景显示的地方刷掉，前景的清晰区域就露出来了（视频 10:00 处）。刷的时候有讲究：画笔硬度不要选 0——太软会在过渡带产生模糊；也别用 100%——太生硬没有过渡，七八十左右刚刚好。随时按住 Alt 单击蒙版查看黑白状态，刷漏的地方一目了然。","xe":"Thomas actually blends most photos by hand: back at the post-alignment stage, give the background layer a white mask and paint black over where the background should hide — the sharp foreground reappears (at 10:00 in the video). Technique matters: brush hardness should not be 0 (too soft, and the transition band blurs) nor 100% (too hard, no transition) — 70-80 is the sweet spot. Hold Alt and click the mask anytime to inspect its black-and-white state and spot missed patches.","b":false},{"t":"img","f":"v09","w":852,"h":480},{"t":"img","f":"v10","w":852,"h":480},{"t":"p","x":"融合边界尽量选在天然过渡带：沙地纹理、水流、杂乱的灌木丛这类重复性高、容易融合的区域，接缝基本看不出来。要密切注意跨越分界的物体——一根树枝、一朵花被从中间刷断就会错位，沿叶子用白色画笔把它整个勾回同一个图层；反复开关图层可见性检查对齐，一株草绝不能一半在上层、一半在下层（视频 15:40 处）。","xe":"Choose blend boundaries in natural transition zones: sand texture, flowing water, tangled bushes — repetitive, easily fused regions where the seam disappears. Watch objects that cross the boundary: a branch or flower cut mid-way will misalign, so trace it whole back onto one layer with a white brush; toggle layer visibility repeatedly to check alignment, and never leave one grass stem half on each layer (at 15:40 in the video).","b":false},{"t":"img","f":"v11","w":852,"h":480},{"t":"h","x":"05 收尾：盖印与裁剪","xe":"05 Finishing: Stamp and Crop"},{"t":"p","x":"合成完成后按 Ctrl+Alt+Shift+E 把图层盖印成一层，就可以进入正常的后期流程。最后一步是裁剪：由于呼吸效应，对齐后的照片边缘会出现空白像素，把四周裁掉，画面才干净完整（视频 16:50 处）。","xe":"Once blended, press Ctrl+Alt+Shift+E to stamp the layers into one and proceed to normal grading. The final step is cropping: focus breathing leaves blank pixels around the aligned frame, and trimming them restores a clean, complete image (at 16:50 in the video).","b":false},{"t":"img","f":"v12","w":852,"h":480},{"t":"quote","x":"1. 小光圈能省底片——F8-F16 两张即可合成，还能配较快的快门冻结风吹的草叶；2. 合成前必做「自动对齐图层」：镜头呼吸效应会让焦段轻移，不对齐处处是瑕疵；3. 自动混合的黑斑用画笔修蒙版，透明破洞说明两层蒙版同黑；4. 手动合成的笔刷硬度 70-80、Alt 检视蒙版、融合带选沙地水流等天然纹理，跨界的花枝必须留在同一图层。","xe":"1. Small apertures save frames — at F8-F16 two shots suffice, paired with a faster shutter to freeze wind-blown grass; 2. Always Auto-Align Layers first: focus breathing shifts focal length slightly, and skipping it seeds flaws everywhere; 3. Repair auto-blend's black blotches by painting the masks — a transparent hole means both masks are black; 4. For manual blends keep brush hardness at 70-80, inspect masks with Alt-click, hide seams in natural textures like sand and water, and keep any flower or branch that crosses the boundary on one layer.","b":false},{"t":"p","x":"而且我们经常会在有风的户外拍摄。这时候，如果拍摄的前景是茎叶细长的花朵，那么花朵必然会摇曳，无论你拍摄的速度多么的快。","b":false,"xe":"And we often shoot outdoors in wind. If the foreground is flowers on slender stems, they WILL sway, no matter how fast you shoot."},{"t":"p","x":"在一组景深合成的图片里，如果前景产生位移，而这种位移是电脑的智能算法也无法完美拼合的，这时候就要用手动蒙版的方法对图片进行人工的融合。","b":false,"xe":"When the foreground shifts within a focus series, even the smartest algorithm can't blend it perfectly — that's when you fuse the frames manually with hand-painted masks."},{"t":"img","f":"img-27","w":734,"h":1100}],"titleEn":"Focus Stacking in Photography: Everything You Want to Know"}