{"slug":"indonesia-tree-photography","title":"印尼旅行，我拍到了生命向上的力量 | 拍树专题","author":"Thomas看看世界","date":"2023-12-10","wechat":"https://mp.weixin.qq.com/s?__biz=MzI4NDA5MzE5NQ==&mid=2247498838&idx=1&sn=f82ef9f17f0d143d6370139b104fc76a&chksm=eb820232dcf58b24994202c00cdb6f30a66f1c72ba77eb20b8ae5005b213a4dda758c404e721&scene=21#wechat_redirect","blocks":[{"t":"p","x":"2017年，我辞职成为职业摄影师的第一站，就是带着尼康D750来到印尼，拍下了我《风光摄影后期基础》一书的封面。","b":false,"xe":"In 2017, my first stop after quitting my job to become a professional photographer was Indonesia with a Nikon D750 — where I shot the cover image for my book 'Fundamentals of Landscape Post-Processing'."},{"t":"p","x":"2023年，我又重访这里，开启了一趟只拍“树”的风光摄影旅行，带着尼康Z8相机，记录下了各种极致地貌里的热带树木，呈现他们不断向上的生命力。","b":false,"xe":"In 2023 I returned for a landscape trip dedicated solely to 'trees', carrying the Nikon Z8 to document tropical trees in extreme terrains, capturing their ever-upward vitality."},{"t":"img","f":"img-01","w":1080,"h":720},{"t":"h","x":"视频","xe":"Video"},{"t":"bili","bv":"BV1oc411i7Ge","bpic":"bili-1","bt":"印尼旅行，我拍到了生命向上的力量 | 尼康Z8"},{"t":"p","x":"这一篇是上面视频的图文整理。2023 年 Thomas 重访印尼，用尼康 Z8 完成了一趟只拍「树」的旅行——从布罗莫火山的星空与日出，到外南梦 Dejawatan 森林公园的高机位抓拍，再到松巴岛海水中的红树林。下文把视频里的机位思路、拍摄参数与自拍技巧整理成五个章节，配上关键帧截图，适合先读图文建立框架，再到视频里听细节。","xe":"This is the illustrated companion to the video above. In 2023 Thomas returned to Indonesia with a Nikon Z8 for a trip dedicated entirely to trees — from the starry sky and sunrise of Mount Bromo, to high-angle grabs in Banyuwangi's Dejawatan forest park, and the mangroves standing in seawater on Sumba Island. The five chapters below organize the video's location ideas, camera settings and self-portrait technique, paired with keyframe screenshots; skim here for the framework, then watch the video for the details.","b":false},{"t":"img","f":"v01","w":852,"h":480},{"t":"h","x":"01 不重复自己：封面机位之外找新视角","xe":"01 Never Repeat Yourself: New Angles Beyond the Cover Shot"},{"t":"p","x":"2017 年辞职成为职业摄影师的第一站，Thomas 带着尼康 D750 来到印尼，在大众观景台下方十来米处拍下了一棵让自己非常满意的树——它后来成了《风光摄影后期基础》的封面。2023 年他带着 Z8 回到同款机位，感慨万千，但给自己定下的原则是不重复自己：哪怕到了同样的位置，也要去周边探索不一样的视角（视频 1:11 处）。","xe":"In 2017, on the first stop of his new life as a professional photographer, Thomas came to Indonesia with a Nikon D750 and photographed a tree a dozen meters below the main viewpoint — an image he loved so much it became the cover of his book 'Fundamentals of Landscape Post-Processing'. In 2023 he returned to the exact same spot with the Z8, deeply moved, but his rule is never to repeat himself: even at the same location, go explore different angles nearby (at 1:11 in the video).","b":false},{"t":"img","f":"v02","w":852,"h":480},{"t":"p","x":"新前景在山坡上随处可见：一棵树配上前面的草地和后面山体的纹理，就能形成很好的框架结构。除了用广角找不一样的前景，他还换上尼康 Z 180-600mm 超长焦镜头去抓拍远处的小景——枯树与后面火山的纹理搭配起来，和谐又壮美（视频 2:25 处）。","xe":"New foregrounds are everywhere on the hillside: a tree framed by grass in front and the texture of the mountain behind makes a strong composition. Beyond wide-angle foregrounds, he also mounts the Nikon Z 180-600mm super-telephoto to capture distant vignettes — dead trees set against the volcano's ridged slopes, a pairing both harmonious and majestic (at 2:25 in the video).","b":false},{"t":"img","f":"v03","w":852,"h":480},{"t":"h","x":"02 两个清晨的等待：包围曝光与三分法","xe":"02 Two Mornings of Waiting: Bracketing and the Rule of Thirds"},{"t":"p","x":"为了拍到不一样的树前景，他在机位等了一整晚，看星空慢慢变成日出。弱光环境下 ISO 不能压得太低，他从夜里的 ISO 400 调到 200，光圈 f/11、A 档，设置三张、两档间隔的包围曝光，基准压到 -2 档——因为树的阴影非常黑，而天空已经慢慢亮起，光比非常大（视频 2:58 处）。按下快门，相机会连续拍下三张。","xe":"For a fresh tree foreground he waited at the spot through the whole night, watching the starry sky slowly turn into sunrise. In such weak light ISO can't go too low: he dropped from ISO 400 at night to 200, set f/11 in A mode, and configured a three-frame, two-stop bracketed burst with the base at -2 EV — the trees cast nearly black shadows while the sky was brightening, an enormous contrast range (at 2:58 in the video). One press of the shutter captures all three frames.","b":false},{"t":"img","f":"v04","w":852,"h":480},{"t":"img","f":"v05","w":852,"h":480},{"t":"p","x":"第二个清晨他换到新机位：左边是枯树，下方是草甸，日出方向的山体还沉在阴影里，草叶却会被阳光直接照亮，前景闪闪发光。构图上他把火山放在画面右边三分之一处，遵循三分法；当天沙海里的烟雾特别大，这个高度恰好能拍到最大面积的云海（视频 4:24 处）。","xe":"On the second morning he moved to a new position: dead trees on the left, a meadow below, the mountain toward the sunrise still sunk in shadow while the sun lit the grass directly, making the foreground sparkle. Following the rule of thirds, he placed the volcano at the right third of the frame; heavy smoke rising from the sand sea meant this height captured the widest sheet of cloud (at 4:24 in the video).","b":false},{"t":"img","f":"v06","w":852,"h":480},{"t":"h","x":"03 魔幻森林：高机位拍光影，长焦抓人文","xe":"03 The Magic Forest: High Tripod for Light, Telephoto for People"},{"t":"p","x":"拍完日出，他们驱车六个小时来到外南梦的 Dejawatan 森林公园——一片很像电影取景地的热带雨林。上午的阳光斜斜穿过林子，地面布满光影，Thomas 把三脚架升到最高位置才拍得到这些光影；林间小路不断有摩托车和当地孩子经过，他就把相机架在那里反复抓拍，让风景照片带上一点人文感（视频 5:38 处）。","xe":"After sunrise they drove six hours to Dejawatan forest park in Banyuwangi — a tropical rainforest that looks like a film set. With the morning sun slanting through the trees and light patterns scattered across the ground, Thomas raised his tripod to its full height to catch them; as motorcycles and local kids kept passing along the forest path, he left the camera mounted and shot candidly, giving the landscape a touch of human warmth (at 5:38 in the video).","b":false},{"t":"img","f":"v07","w":852,"h":480},{"t":"img","f":"v08","w":852,"h":480},{"t":"h","x":"04 间隔拍摄自拍与树冠羞避","xe":"04 Interval-Timer Selfies and Crown Shyness"},{"t":"p","x":"很多朋友好奇照片里的 Thomas 是怎么自拍的。他找到两棵树天然形成的拱门，把 14-24mm 超广角朝上，让透视夸张地汇聚，人计划站在树下；相机放上三脚架后，进入菜单里的间隔拍摄模式：自拍间隔设 4 秒或 5 秒拍一张，张数设到最多，曝光平滑可以打开，点击开始后走到位等快门即可（视频 6:30 处）。","xe":"Many viewers wonder how Thomas appears in his own photos. He found a natural arch formed by two trees, pointed the 14-24mm ultra-wide upward so the perspective converged dramatically, and planned to stand beneath it; with the camera on the tripod he opened the interval shooting menu: a 4- or 5-second interval for selfies, the shot count set to maximum, exposure smoothing switched on — press start, walk into position, and wait for the shutter (at 6:30 in the video).","b":false},{"t":"img","f":"v09","w":852,"h":480},{"t":"p","x":"在森林里探索一番后，他发现这片树林的树冠羞避现象非常明显——相邻树木的树冠互不接触，在天空下留出一道道缝隙。于是他拿出 14-24mm 超广角仰拍，记录下这震撼的一幕；同时也大量使用长焦抓拍树木的局部，树枝与树叶形成的纹理、色块和结构，同样体现着生命的力量（视频 7:11 处）。","xe":"Exploring the forest, he noticed the crown shyness here is striking — neighboring crowns refuse to touch, leaving channels of sky between them. He raised the 14-24mm ultra-wide skyward to record the spectacular pattern; he also leaned heavily on the telephoto for tree details, where the textures, color blocks and structures of branches and leaves carry the same force of life (at 7:11 in the video).","b":false},{"t":"img","f":"v10","w":852,"h":480},{"t":"h","x":"05 松巴岛：海水里长出的红树林","xe":"05 Sumba Island: Mangroves Growing in Seawater"},{"t":"p","x":"旅程的最后一站，他们专门飞到了小众目的地——印尼松巴岛。这里有一片长在海边的红树林，Thomas 走在齐腰深的海水中，把相机架到贴近水面的位置，艰难地寻找并拍下了这些绝境中的生命——很难想象它们竟然生长在海水之中，还各自活出了模样（视频 7:46 处）。","xe":"The final leg was a flight to an off-the-beaten-path destination — Sumba Island, Indonesia. Here a mangrove forest grows at the ocean's edge: wading waist-deep in seawater, Thomas positioned his camera just above the surface and, with some struggle, found and photographed these lives against the odds — hard to imagine trees thriving in salt water, each shaped into its own character (at 7:46 in the video).","b":false},{"t":"img","f":"v11","w":852,"h":480},{"t":"img","f":"v12","w":852,"h":480},{"t":"quote","x":"1. 到过再好的机位也不重复自己——换前景、换焦段、换视角，总能找到新的画面；2. 大光比交给包围曝光：弱光 ISO 不低于 200，f/11、三张两档、基准 -2 档；3. 风景里的人是加分项——高机位抓光影，长焦抓路过的人群；4. 自拍交给间隔拍摄：4-5 秒一张、张数设满、打开曝光平滑，人只管走进画面。","xe":"1. Never repeat yourself, however good the spot — change the foreground, the focal length, the angle, and new pictures will appear; 2. Hand extreme contrast to bracketing: ISO no lower than 200 in weak light, f/11, three frames two stops apart with the base at -2 EV; 3. People enrich a landscape — shoot light patterns from high angles and passers-by with a telephoto; 4. Let the interval timer take your self-portrait: one frame every 4-5 seconds, count maxed out, exposure smoothing on — all you do is walk into the frame."},{"t":"h","x":"尼康Z8 寻“树”作品","xe":"Tree-Seeking Works with the Nikon Z8"},{"t":"img","f":"img-02","w":1080,"h":720},{"t":"img","f":"img-03","w":1080,"h":720},{"t":"img","f":"img-04","w":1080,"h":721},{"t":"img","f":"img-05","w":1080,"h":720},{"t":"img","f":"img-06","w":1080,"h":720},{"t":"img","f":"img-07","w":1080,"h":720},{"t":"img","f":"img-08","w":1080,"h":720},{"t":"img","f":"img-09","w":1080,"h":720},{"t":"img","f":"img-10","w":1080,"h":720},{"t":"img","f":"img-11","w":1080,"h":1620},{"t":"img","f":"img-12","w":1080,"h":720},{"t":"img","f":"img-13","w":1080,"h":720}],"titleEn":"In Indonesia, I Photographed the Upward Force of Life | Tree Series"}