{"slug":"fog-haze-sandstorm-photos","title":"雾霾天也能拍大片？浓雾、雾霾、沙尘暴天气摄影思路！","author":"Thomas看看世界","date":"2023-07-25","wechat":"https://mp.weixin.qq.com/s?__biz=MzI4NDA5MzE5NQ==&mid=2247497886&idx=2&sn=bd2ae6df435f34735dd403ea60acafd2&chksm=eb8206fadcf58fecc9a5bcf2183793c57a8b6dfee15e346989e5257d083a4fabfa51a6ca2f79&scene=21#wechat_redirect","blocks":[{"t":"p","x":"浓雾、雾霾、沙尘暴天气缺少光线和色彩，很多摄影师都避之不及。","b":false,"xe":"Dense fog, haze and sandstorms lack light and color, and many photographers avoid them at all costs."},{"t":"p","x":"但不少摄影高手反而最喜欢雾霾天了。","b":false,"xe":"But quite a few master photographers actually love hazy days the most."},{"t":"p","x":"掌握今天教程分享的3个思路，雾霾天也能拍出大片！","b":false,"xe":"Master the 3 ideas shared in today's tutorial, and you can shoot stunning photos even in haze!"},{"t":"img","f":"img-01","w":1080,"h":820},{"t":"h","x":"视频","xe":"Video"},{"t":"bili","bv":"BV1EV411L79e","bpic":"bili-1","bt":"雾霾天也能拍大片？浓雾、雾霾、沙尘暴摄影思路！"},{"t":"p","x":"这一篇是上面视频的图文整理。雾霾、浓雾、沙尘暴这类「坏天气」其实藏着大量出片机会，Thomas 在视频里总结了三条拍摄思路：人为创造色彩与光线、用剪影和留白烘托情绪、借浓雾获得干净背景与层次。文中的 PPT 已收录全部示例图，下面按视频顺序把三条思路的要点整理成文字，配上视频截图。","xe":"This is the illustrated companion to the video above. Haze, thick fog and sandstorms hide plenty of opportunities, and Thomas distills three approaches: manufacture color and light yourself, build mood with silhouettes and negative space, and use dense fog as a clean backdrop with layered depth. The slides above collect the example images; below the three ideas are written out in video order with screenshots.","b":false},{"t":"p","x":"先看全片大纲：雾霾天如何拍——从薄雾、云海、光影，讲到雾霾、浓雾、风沙与沙尘暴（视频 0:31 处标题卡，1:07 处为要点卡）。","xe":"Start with the outline: how to shoot in haze — from thin mist, cloud seas and light, to haze, dense fog, wind and sandstorms (the title card at 0:31 and the outline card at 1:07 in the video).","b":false},{"t":"img","f":"v01","w":852,"h":480},{"t":"h","x":"01 雾霾天的三个难点","xe":"01 Three Difficulties of Hazy Weather"},{"t":"p","x":"为什么大家觉得雾霾浓雾天难出片？因为这类天气有三个特点：一是光线非常平，物体立体感不强；二是缺少色彩；三是能见度低、可拍的景色少（视频 1:07 处要点卡）。但反过来想，光线平不一定是缺点，缺少色彩也完全可以克服——这就是下面三条思路的出发点。","xe":"Why do hazy days feel so unphotogenic? Three reasons: the light is flat so subjects lose their relief, color is scarce, and low visibility leaves little to shoot (the key-points card at 1:07 in the video). But flat light is not necessarily a flaw, and missing color can be overcome — which is exactly where the three ideas below begin.","b":false},{"t":"img","f":"v02","w":852,"h":480},{"t":"h","x":"02 人为创造色彩与光线","xe":"02 Manufacture Color and Light"},{"t":"p","x":"第一种思路是主动制造色彩和光线，两个工具：天光与人造光。日出前、日落后的蓝调时刻无论晴雨都会出现，整个环境自然带上冷蓝；这时去拍路灯、车灯、房屋灯火等暖色人造光，冷暖对比一下就出来了（视频 1:47 处）。美国摄影师 Todd Hido 就常借雾气拍郊区房屋——暖黄灯光配冷雾背景，氛围感十足（视频 2:34 处）。","xe":"The first idea is to manufacture color and light with two tools: skylight and artificial light. The blue hour before sunrise and after sunset arrives in any weather, cooling the whole scene; shoot warm artificial lights — street lamps, car headlights, lit windows — against it and the warm-cool contrast appears on its own (at 1:47 in the video). Todd Hido builds entire suburb series this way, warm windows glowing through cold fog (at 2:34).","b":false},{"t":"img","f":"v03","w":852,"h":480},{"t":"img","f":"v04","w":852,"h":480},{"t":"img","f":"v05","w":852,"h":480},{"t":"p","x":"加油站是雾天经典题材——五颜六色的广告牌与涂料配上有色的雾气，效果出彩（视频 3:01 处）。还可以更进一步，自己点火、点烟、打开手电，为画面添一个光源；车窗、车框也可以作为前景框架。雾天常伴潮湿水汽，地面和车身的水珠、玻璃反光都是绝佳的加分元素（视频 3:28 处）。","xe":"Gas stations are a fog classic — colorful signs and paint against tinted mist work beautifully (at 3:01 in the video). You can go further and make your own light: light a fire, a cigarette, a flashlight, or use the car window as a frame. Foggy air is damp, and droplets on the ground, the car body or glass add sparkling highlights (at 3:28).","b":false},{"t":"img","f":"v06","w":852,"h":480},{"t":"h","x":"03 剪影与留白烘托情绪","xe":"03 Mood through Silhouette and Space"},{"t":"p","x":"第二种思路：雾天光线平，正好把主体拍成剪影；天地茫茫一片白或蓝，正好把空间留白放大。这时构图往往不是三分法也不是对称法，而是让人物只占极小的比例——景大人小，显出环境之宏大、人物之渺小（视频 7:04 处的棕榈剪影、6:40 处白茫茫街道上的一点人影）。","xe":"The second idea: flat fog light is perfect for silhouettes, and the endless white or blue expanse begs for generous negative space. Composition here often follows neither thirds nor symmetry — the figure simply occupies a tiny fraction of the frame, small against the vastness (palm silhouettes at 7:04 and a lone figure in a whiteout street at 6:40 in the video).","b":false},{"t":"img","f":"v07","w":852,"h":480},{"t":"img","f":"v08","w":852,"h":480},{"t":"p","x":"后期上，雾霾天可以人为添加青蓝色或《银翼杀手》式的金黄色，甚至青绿色，氛围立刻不同；但氛围感不止来自颜色——人物的剪影、宏大的空间、隐约露出的建筑与太阳、月亮、路灯，共同借雾气的朦胧把情绪张力拉满（视频 8:26 处为景大人小的剪影范例）。记不住那么多也没关系：景大人小、拍出剪影，这两个规律足够拍出好照片。","xe":"In post, haze scenes take a teal-blue tint, a Blade-Runner gold, or even a cyan-green beautifully; yet the mood comes from more than color — the silhouetted figure, the vast space, buildings and sun, moon or lamps barely emerging through the murk, all stretching the image's emotional tension (an example of small-figure silhouette at 8:26 in the video). If nothing else sticks, remember two rules: figure small in the frame, subject as silhouette.","b":false},{"t":"img","f":"v09","w":852,"h":480},{"t":"h","x":"04 干净背景与朦胧层次","xe":"04 Clean Backdrops and Misty Layers"},{"t":"p","x":"第三种思路是把浓雾当「背景板」用。一块礁石背后的风景原本杂乱无章，等到浓雾降临，天地一色，就变成了完美的简洁背景（视频 8:37 处思路卡）。房屋照片里，远山在雾中隐约透露，后期再降低清晰度，朦胧的层次感非常动人。","xe":"The third idea treats dense fog as a backdrop. The landscape behind a lone rock may be a mess, but when thick fog rolls in, sky and ground merge into one flawless minimal background (the idea card at 8:37 in the video). In house portraits, distant hills ghost through the murk — drop the clarity in post and the misty layering sings.","b":false},{"t":"img","f":"v10","w":852,"h":480},{"t":"img","f":"v11","w":852,"h":480},{"t":"img","f":"v12","w":852,"h":480},{"t":"p","x":"森林是雾天最好的拍摄对象之一：森林环境特别容易显乱，而雾气恰好能隔绝杂乱的枝叶，只留下近处清晰、越远越白茫茫的递进层次。找好角度，近处一个黑黢黢的山洞或树干、远处渐次朦胧，就是一张层次极佳的作品。沙尘暴天气同理：能见度低反而突出主体，背景白茫茫一片非常有感觉；汽车广告也常用雾天森林，由近到远、由黑到亮、由清晰到朦胧，再用人物和树做线索与框架（视频 10:05 处）。","xe":"Forests are among the best fog subjects: woodland scenes tend to visual chaos, and fog conveniently veils the tangled twigs and leaves, leaving near trees sharp while the distance dissolves into white. With the right angle — a dark cave or trunk in front, progressively hazier depths behind — the layering alone makes the picture. Sandstorms work the same way: poor visibility isolates the subject against a blank canvas, and car commercials routinely use foggy forests graded from near to far, dark to bright, sharp to misty, with figures and trees as leading lines (at 10:05 in the video).","b":false},{"t":"quote","x":"1. 雾霾天三难：光线平、缺色彩、能见度低——但都可以反过来利用；2. 用蓝调天光配暖色人造光，人为制造冷暖对比，加油站与灯火是经典题材；3. 景大人小、拍成剪影，再配青蓝或金黄的后期色调，氛围感立现；4. 浓雾是最好的简洁背景板：森林、礁石、建筑借雾隐藏杂乱，由近到远的朦胧递进就是层次。","xe":"1. Haze brings three difficulties — flat light, scarce color, low visibility — and all three can be turned around; 2. Pair blue-hour skylight with warm artificial light to manufacture contrast; gas stations and glowing windows are the classics; 3. Shrink the figure, shoot the silhouette, then grade teal-blue or Blade-Runner gold and the mood arrives; 4. Dense fog is the cleanest backdrop there is — forests, rocks and buildings hide their clutter in it, and the near-to-far fade into mist is layering itself.","b":false},{"t":"h","x":"PPT","xe":"PPT"},{"t":"img","f":"img-02","w":1080,"h":608},{"t":"img","f":"img-03","w":1080,"h":608},{"t":"img","f":"img-04","w":1080,"h":608},{"t":"img","f":"img-05","w":1080,"h":608},{"t":"img","f":"img-06","w":1080,"h":608},{"t":"img","f":"img-07","w":1080,"h":608},{"t":"img","f":"img-08","w":1080,"h":608},{"t":"img","f":"img-09","w":1080,"h":608},{"t":"img","f":"img-10","w":1080,"h":608},{"t":"img","f":"img-11","w":1080,"h":608},{"t":"img","f":"img-12","w":1080,"h":608},{"t":"img","f":"img-13","w":1080,"h":608},{"t":"img","f":"img-14","w":1080,"h":608},{"t":"img","f":"img-15","w":1080,"h":608},{"t":"img","f":"img-16","w":1080,"h":608},{"t":"img","f":"img-17","w":1080,"h":608},{"t":"img","f":"img-18","w":1080,"h":608},{"t":"img","f":"img-19","w":1080,"h":608},{"t":"img","f":"img-20","w":1080,"h":608},{"t":"img","f":"img-21","w":1080,"h":608},{"t":"img","f":"img-22","w":1080,"h":608},{"t":"img","f":"img-23","w":1080,"h":608},{"t":"img","f":"img-24","w":1080,"h":608},{"t":"img","f":"img-25","w":1080,"h":608},{"t":"img","f":"img-26","w":1080,"h":608},{"t":"img","f":"img-27","w":1080,"h":608},{"t":"img","f":"img-28","w":1080,"h":608},{"t":"img","f":"img-29","w":1080,"h":608},{"t":"img","f":"img-30","w":1080,"h":608},{"t":"img","f":"img-31","w":1080,"h":608},{"t":"img","f":"img-32","w":1080,"h":608},{"t":"img","f":"img-33","w":1080,"h":608},{"t":"img","f":"img-34","w":1080,"h":608},{"t":"img","f":"img-35","w":1080,"h":608},{"t":"img","f":"img-36","w":1080,"h":608},{"t":"img","f":"img-37","w":1080,"h":608},{"t":"img","f":"img-38","w":1080,"h":608},{"t":"img","f":"img-39","w":1080,"h":608},{"t":"img","f":"img-40","w":1080,"h":608},{"t":"img","f":"img-41","w":1080,"h":608},{"t":"img","f":"img-42","w":1080,"h":608},{"t":"img","f":"img-43","w":1080,"h":608},{"t":"img","f":"img-44","w":1080,"h":608},{"t":"img","f":"img-45","w":1080,"h":608},{"t":"img","f":"img-46","w":1080,"h":608},{"t":"img","f":"img-47","w":1080,"h":608},{"t":"img","f":"img-48","w":1080,"h":608},{"t":"img","f":"img-49","w":1080,"h":608},{"t":"img","f":"img-50","w":1080,"h":608},{"t":"img","f":"img-51","w":1080,"h":608},{"t":"img","f":"img-52","w":1080,"h":608},{"t":"img","f":"img-53","w":1080,"h":608},{"t":"img","f":"img-54","w":1080,"h":608},{"t":"img","f":"img-55","w":1080,"h":608},{"t":"img","f":"img-56","w":1080,"h":608},{"t":"img","f":"img-57","w":1080,"h":608},{"t":"img","f":"img-58","w":1080,"h":608},{"t":"img","f":"img-59","w":1080,"h":608},{"t":"img","f":"img-60","w":1080,"h":608},{"t":"img","f":"img-61","w":1080,"h":608},{"t":"img","f":"img-62","w":1080,"h":608},{"t":"img","f":"img-63","w":1080,"h":608},{"t":"img","f":"img-64","w":1080,"h":608},{"t":"img","f":"img-65","w":1080,"h":608},{"t":"img","f":"img-66","w":1080,"h":608},{"t":"img","f":"img-67","w":1080,"h":608},{"t":"img","f":"img-68","w":1080,"h":608},{"t":"img","f":"img-69","w":1080,"h":608},{"t":"img","f":"img-70","w":1080,"h":608},{"t":"img","f":"img-71","w":1080,"h":608},{"t":"img","f":"img-72","w":1080,"h":608},{"t":"img","f":"img-73","w":1080,"h":608},{"t":"img","f":"img-74","w":1080,"h":608},{"t":"img","f":"img-75","w":1080,"h":608},{"t":"img","f":"img-76","w":1080,"h":608},{"t":"img","f":"img-77","w":1080,"h":608},{"t":"img","f":"img-78","w":1080,"h":608},{"t":"img","f":"img-79","w":1080,"h":608},{"t":"img","f":"img-80","w":1080,"h":608},{"t":"img","f":"img-81","w":1080,"h":608},{"t":"img","f":"img-82","w":1080,"h":608},{"t":"img","f":"img-83","w":1080,"h":608},{"t":"img","f":"img-84","w":1080,"h":608},{"t":"img","f":"img-85","w":1080,"h":608},{"t":"img","f":"img-86","w":1080,"h":608},{"t":"img","f":"img-87","w":1080,"h":608},{"t":"img","f":"img-88","w":1080,"h":608},{"t":"img","f":"img-89","w":1080,"h":608}],"titleEn":"Great Shots in Fog and Haze? Ideas for Fog, Haze and Sandstorm Photography"}