{"slug":"ins-blue-tone-grading","title":"超好看的Ins蓝色调是如何调出来的？","author":"Thomas看看世界","date":"2019-04-21","wechat":"https://mp.weixin.qq.com/s?__biz=MzI4NDA5MzE5NQ==&mid=2247488798&idx=1&sn=255357d8b5b99bd8fbbab031c95d9425&chksm=eb81eb7adcf6626c92f2d8cd3ce069d076e5705f94e6fb201073aff7e036e269a6dd0991e3cc&scene=21#wechat_redirect","blocks":[{"t":"h","x":"Thomas看看世界","xe":"Thomas Chu Photo"},{"t":"p","x":"蓝色，常常出现于大海、天空、以及大自然的环境光中。","b":false,"xe":"Blue is everywhere — the sea, the sky, and the ambient light of nature."},{"t":"p","x":"在照片里，蓝色常常作为一种烘托氛围的色彩。除了常见的饱和靓丽的蓝色之外，今天托马斯会介绍一种Instagram上很流行的低饱和蓝色调。","b":false,"xe":"In photographs, blue often sets the atmosphere. Beyond the common vivid, saturated blues, today Thomas introduces a low-saturation blue tone that's popular on Instagram."},{"t":"p","x":"蓝色这样调，看起来会比较沉稳舒服。","b":false,"xe":"Graded this way, blue feels calmer and more comfortable."},{"t":"img","f":"img-02","w":1067,"h":1600},{"t":"h","x":"视频教程","xe":"Video Tutorial"},{"t":"bili","bv":"BV1zb411V718","bpic":"bili-1","bt":"超好看的Ins蓝色调是如何调出来的？（Thomas的摄影后期实战教程）"},{"t":"p","x":"这一篇是上面视频的完整图文整理。Thomas 以一张格陵兰航拍照片（海鸟追逐渔船）为例，在 Camera Raw 中完整演示了 Instagram 上流行的低饱和蓝色调的调法：从镜头校正、变换矫正、二次构图，到基本面板、胶片曲线、HSL 和分离色调，最后还演示了如何把这套参数批量同步到阴天、晴天拍摄的其他照片。所有关键步骤都配了视频截图，参数数值在正文中一一标出。","b":false,"xe":"This is the fully illustrated companion to the video above. Using an aerial shot from Greenland — gulls chasing a fishing boat — Thomas demonstrates the full Camera Raw workflow behind Instagram's popular low-saturation blue: lens corrections, transform fixes, a secondary crop, then the Basic panel, film curve, HSL and split toning, finishing with batch-syncing the recipe to photos shot in overcast and sunny conditions. Every key step is captured in screenshots below, with the exact values spelled out in the text."},{"t":"img","f":"v01","w":852,"h":480},{"t":"h","x":"01 校正：先横平竖直再谈风格","xe":"01 Corrections: Straighten First, Style Later"},{"t":"p","x":"老规矩，调色之前先做校正。打开镜头校正面板，勾选删除色差、启动镜头配置文件校正（视频 0:28-0:34 处）。接着进入变换工具，先试「自动」——但这里自动的校正效果并不好，于是改用参考线的方式手动修改（视频 0:42-0:54 处）。","xe":"As always, corrections come before color. Open the Lens Corrections panel and tick Remove Chromatic Aberration and Enable Profile Corrections (at 0:28-0:34 in the video). Then move to the Transform tools and try Auto — but here it does a poor job, so switch to drawing guide lines instead (at 0:42-0:54 in the video)."},{"t":"img","f":"v02","w":852,"h":480},{"t":"p","x":"放大画面后沿参照物画竖线和横线：照片里的储油罐是垂直的圆柱形，它的边缘必须垂直；远处的建筑也应该是垂直的。画完参考线之后，软件对水平线和竖直线做了非常大幅度的矫正，储油罐和房屋都恢复了垂直状态——虽然船只被稍稍拉长了一点，但比起歪斜的变形，这样的透视看起来舒服多了（视频 1:00-2:23 处）。","xe":"Zoom in and draw vertical and horizontal guides along references: the fuel storage tank is a vertical cylinder, so its edges must be plumb, and the buildings in the distance should be vertical too. Once the guides are set, the software applies a dramatic rotation and perspective correction — the tanks and houses return to true vertical. The boat gets stretched ever so slightly, but compared with the skewed distortion, the corrected perspective feels far more comfortable (at 1:00-2:23 in the video)."},{"t":"img","f":"v03","w":852,"h":480},{"t":"p","x":"校正完成之后进行二次构图。Thomas 固定使用自己最常用的 3:2 比例（索尼相机默认的比例），拉伸裁剪框时特意带进下方的一只海鸟——仿佛它在追逐渔船；最终取竖构图，渔船正好落在画面三分之一处，形成一个三分法构图（视频 2:25-3:03 处）。","xe":"With corrections done, it's time for a secondary crop. Thomas sticks to his usual 3:2 ratio (the default of his Sony camera), and while stretching the crop frame deliberately brings in a gull below — as if chasing the boat. The final frame is a vertical composition with the fishing boat right at the lower third, a classic rule-of-thirds placement (at 2:25-3:03 in the video)."},{"t":"img","f":"v04","w":852,"h":480},{"t":"img","f":"v05","w":852,"h":480},{"t":"h","x":"02 基本面板：压高光、提阴影、降饱和","xe":"02 Basic Panel: Pull Highlights, Lift Shadows, Cut Saturation"},{"t":"p","x":"进入 Ins 风格低饱和蓝色调的调整。第一步把高光大幅度压下来——这样可以极大降低前景的高光，让整个画面看起来更平整，而不是前面亮、后面暗（视频 3:12-3:32 处）。阴影则做一定程度的提升，这也是 Ins 风格照片经常做的调整（视频 3:34-3:41 处）。","xe":"Now for the Ins-style, low-saturation blue look. Step one: pull the highlights way down, which flattens the bright foreground so the frame reads even rather than bright-in-front, dark-in-back (at 3:12-3:32 in the video). Then lift the shadows a fair amount — another staple of the Ins look (at 3:34-3:41 in the video)."},{"t":"img","f":"v06","w":852,"h":480},{"t":"p","x":"黑色色阶往左移，画面会大幅度加深，恢复很多对比度；白色色阶往右移，整张照片的对比度就重新回来了（视频 3:42-3:59 处）。清晰度适当增加一些；而饱和度要极大降低——这里先降低 30 左右，后面再通过 HSL 进一步调整，因为全局降饱和会连画面里的红色、橙色一起压掉（视频 4:00-4:27 处）。","xe":"Drag the blacks slider left and the image deepens dramatically, recovering a lot of contrast; push the whites right and the photo's overall contrast comes back (at 3:42-3:59 in the video). Add a bit of clarity; and since the target is a low-saturation blue look, cut saturation hard — about -30 here — with further HSL work to come, because a global cut also mutes the reds and oranges (at 4:00-4:27 in the video)."},{"t":"h","x":"03 胶片曲线：提黑场加 S 形","xe":"03 The Film Curve: Lift the Blacks, Add an S"},{"t":"p","x":"接下来是非常关键的色调曲线调整。对 Ins 风格以及很多胶片风格来说，都要拉一条胶片曲线——它其实很简单：一条提黑场的曲线加一条 S 形曲线。黑场曲线就是把画面最暗的部分提亮，保证画面中没有纯黑的部分：取曲线最左边那个点，做大幅度的向上提升（视频 4:30-4:59 处）。","xe":"Next comes the crucial tone curve. For the Ins look — and many film looks — you draw a film curve, which is really simple: a lifted-black curve plus an S-curve. The lifted black means raising the darkest tones so no pure black remains in the frame: grab the leftmost point of the curve and lift it substantially (at 4:30-4:59 in the video)."},{"t":"img","f":"v07","w":852,"h":480},{"t":"p","x":"但只提黑场之后，画面会看起来特别平淡，所以要再增加一个 S 型曲线，在提升黑场的同时恢复对比度。提黑场加 S 形，这条曲线在大量后期风格中都会用到（视频 5:00-5:19 处）。","xe":"But lifting the blacks alone makes the image look flat, so add an S-curve on top to restore contrast while keeping the lifted toe. Lifted blacks plus an S — a curve combination used across countless editing styles (at 5:00-5:19 in the video)."},{"t":"h","x":"04 HSL与分离色调：色相210的Ins蓝","xe":"04 HSL and Split Toning: the Ins Blue at Hue 210"},{"t":"p","x":"HSL 这里非常简单，只调饱和度和明度：把蓝色的饱和度大幅度降低，大概降到 60 左右（视频 5:20-5:36 处）；橙色和红色的饱和度适当增强，起到冷暖对比的作用；明度上，橙色稍稍增加、蓝色稍稍降低，同样是为了对比（视频 5:37-5:51 处）。","xe":"The HSL panel here is simple — saturation and luminance only: drop the blue saturation hard, to around -60 (at 5:20-5:36 in the video); boost orange and red saturation moderately for warm-cool contrast; and in luminance, nudge orange up and blue down slightly — again for contrast (at 5:37-5:51 in the video)."},{"t":"img","f":"v08","w":852,"h":480},{"t":"p","x":"这时画面的饱和度已经压得很低，蓝色和真正的 Ins 蓝还有一点差距。办法是：蓝色饱和度保持降低，再通过分离色调把想要的 Ins 蓝加回去。这里有一个值得记住的规律——Ins 上流行的那种蓝色，色相值大概在 210 左右（视频 5:52-6:27 处）。把高光的色相设为 210，增加一点饱和度，高光就染上了这种 Ins 蓝；不用加很多，原来高光是纯白或稍稍偏紫，加一点蓝之后看起来就舒服了很多（视频 6:30-6:47 处）。","xe":"At this point saturation is very low, and the blue still falls short of the real Ins blue. The trick: keep the blue saturation low, then add the Ins blue back through split toning. Here is a rule worth memorizing — the blue that's popular on Instagram sits at a hue value of about 210 (at 5:52-6:27 in the video). Set the highlights' hue to 210 and add a touch of saturation, and the highlights pick up that Ins cast; not much is needed — they go from pure white or slightly purple to much more pleasant (at 6:30-6:47 in the video)."},{"t":"img","f":"v09","w":852,"h":480},{"t":"p","x":"阴影也不要忘记：色相同样设到 210 左右的 Ins 蓝，饱和度提升到 11 左右，都还是 OK 的结果（视频 6:48-7:06 处）。最后他觉得照片的黑场还不够，把黑色色阶进一步降低——这样这片蓝才会显得深邃（视频 7:14-7:27 处）。至此 Ins 低饱和蓝色调的调整就完成了。","xe":"Don't forget the shadows: set their hue to the same Ins blue around 210 and raise saturation to about 11 — a perfectly fine result (at 6:48-7:06 in the video). Finally he felt the blacks were not deep enough, so the blacks slider goes down a bit further — that is what makes the blue feel deep and profound (at 7:14-7:27 in the video). And with that, the low-saturation Ins blue edit is complete."},{"t":"h","x":"05 前后对比与批量同步","xe":"05 Before and After, and Batch Syncing"},{"t":"p","x":"来看之前之后的效果对比：没有做变换工具的水平线、垂直线矫正时，船其实有一定变形；矫正之后，整艘船的透视舒服了很多（视频 7:37-7:49 处）。调色上，原来是非常鲜艳的蓝色，看起来并不特别舒服；现在的大海之蓝非常安静（视频 7:50-8:00 处）。这套效果用在阴天和晴天的蓝色上都成立。","xe":"Now the before-and-after: without the transform corrections the boat was visibly distorted; after them, its perspective feels right (at 7:37-7:49 in the video). On color, the original was a highly vivid blue that isn't particularly pleasant; the sea blue now reads quiet (at 7:50-8:00 in the video). The recipe holds up for blues shot in both overcast and sunny conditions."},{"t":"img","f":"v10","w":852,"h":480},{"t":"p","x":"这套参数还可以批量复用：把几张照片一起在 Camera Raw 中打开，同步参数或套用预设都可以。在图库里全选照片，右键「同步设置」，除了变换、裁剪，以及局部调整和污点去除之外的所有选项都同步过去（视频 8:09-8:35 处）——因为每张照片需要的矫正和裁剪各不相同，风格部分则是通用的。","xe":"The recipe also scales: open several photos together in Camera Raw and sync the settings or apply a preset. Select all the photos in the library, right-click and choose Sync Settings, transferring everything except transform, crop, local adjustments and spot removal (at 8:09-8:35 in the video) — corrections and crops differ per frame, but the look is universal."},{"t":"img","f":"v11","w":852,"h":480},{"t":"img","f":"v12","w":852,"h":480},{"t":"p","x":"同步之后的效果：阴天的照片之前平淡，之后深邃了很多；晴天的照片也更加冷静、更加舒服（视频 8:36-8:52 处）。这就是 Ins 低饱和蓝色调的全部秘密——校正打底、胶片曲线塑形、210 的色相点睛。","xe":"After syncing: the overcast frame goes from flat to far deeper, and the sunny one turns calmer and more pleasing (at 8:36-8:52 in the video). That is the whole secret of the low-saturation Ins blue — corrections as the foundation, the film curve for structure, and hue 210 as the finishing touch."},{"t":"quote","x":"1. 风格之前先校正：镜头校正打底，变换工具用参考线把储油罐、建筑等竖线拉直，二次构图定 3:2 竖幅、渔船放三分线；2. 基本面板定基调：高光大压、阴影提升、黑色左移白色右移恢复对比、饱和度先降 30；3. 胶片曲线 = 提黑场（画面无纯黑）+ S 形（恢复对比）；4. Ins 蓝的规律：HSL 把蓝饱和降到 -60、橙红增强做冷暖对比，分离色调高光阴影都用色相 210 加蓝，最后压低黑场让蓝色深邃——这套参数可同步给阴天晴天的一切蓝调照片。","xe":"1. Correct before you style: lens corrections first, then transform guides to plumb the tanks and buildings, a 3:2 vertical crop with the boat on the thirds line; 2. The Basic panel sets the base: highlights down hard, shadows up, blacks left and whites right to restore contrast, saturation cut by 30 first; 3. The film curve = lifted blacks (no pure black) plus an S (contrast back); 4. The Ins-blue rule: drop blue saturation to -60 in HSL, boost orange-red for warm-cool contrast, add hue-210 blue to highlights and shadows in split toning, then sink the blacks for depth — sync it to every blue photo, cloudy or sunny."},{"t":"p","x":"另外本次教程，也提供了一张RAW文件用于下载练习。","b":false,"xe":"This tutorial also comes with a RAW file to download and practice with."},{"t":"img","f":"img-03","w":1080,"h":719},{"t":"p","x":"练习文件下载：","b":false,"xe":"Practice file download:"},{"t":"p","x":"链接: https://pan.baidu.com/s/1ivIaAXZMhgd-LpcPgjPWug","b":false,"xe":"Link: https://pan.baidu.com/s/1ivIaAXZMhgd-LpcPgjPWug"},{"t":"p","x":"提取码: 96g2","b":false,"xe":"Extraction code: 96g2"},{"t":"p","x":"复制这段内容后打开百度网盘手机App，操作更方便哦","b":false,"xe":"Copy this text and open the Baidu Netdisk mobile app for easier access"},{"t":"h","x":"欢迎大家继续关注托马斯的旅行摄影攻略","xe":"Stay tuned for more of Thomas's travel photography tips"}],"titleEn":"How to Create That Stunning Instagram Blue Tone"}