{"slug":"ins-muted-teal-blue","title":"超好看的Ins风低调青蓝色照片，原来是这么调出来的！","author":"Thomas看看世界","date":"2019-11-03","wechat":"https://mp.weixin.qq.com/s?__biz=MzI4NDA5MzE5NQ==&mid=2247489702&idx=1&sn=5c6c1f98d1ff43c03a682e57bc2e0e87&chksm=eb81e6c2dcf66fd47215b378fe0e27c15f49cb337249b06d4577370b064f973103adcb97ef0a&scene=21#wechat_redirect","blocks":[{"t":"h","x":"Thomas看看世界","xe":"Thomas Chu Photo"},{"t":"p","x":"在《色调绝了! 这4位ins摄影师把青色用的出神入化!》一文中，托马斯推荐了包括@benjaminhardman和@fursty等几位Ins摄影师，他们可以调出很好看的青色调照片。","b":false,"xe":"In the article \"Stunning Tones! These 4 Instagram Photographers Use Teal to Perfection!\", Thomas recommended several Instagram photographers — including @benjaminhardman and @fursty — who create gorgeous teal-toned photos."},{"t":"img","f":"img-02","w":1080,"h":1495},{"t":"p","x":"在今天的教程中，托马斯会以下面一张照片为例。","b":false,"xe":"In today's tutorial, Thomas will use the photo below as an example,"},{"t":"img","f":"img-03","w":1080,"h":720},{"t":"p","x":"教大家如何在Lightroom或者ACR(Camera Raw)中，几步就能调出这种好看的低调青蓝色风格！","b":false,"xe":"showing you how to create this beautiful muted teal-blue style in Lightroom or ACR (Camera Raw) in just a few steps!"},{"t":"img","f":"img-04","w":1080,"h":720},{"t":"h","x":"视频教程","xe":"Video Tutorial"},{"t":"bili","bv":"BV1ZE411t7Jo","bpic":"bili-1","bt":"超好看的Ins暗青风格照片，原来是这么调出来的！"},{"t":"p","x":"这一篇是上面视频的完整图文整理。Thomas 先拆解了 Instagram 摄影师 Benjamin Hardman 那组低调青蓝色照片的共同特点——直方图压左、高对比、低饱和、整体偏青蓝——然后用一张雪山原片，把「压暗保对比」的影调手法和「先去色再上色」的调色套路完整演示了一遍，关键步骤都标注了视频时间点。","xe":"This is the full illustrated write-up of the video above. Thomas first breaks down what unites Instagram photographer Benjamin Hardman's dark teal images — left-packed histograms, strong contrast, low saturation, and an overall cyan-blue cast — then, using a snowy mountain raw file, demonstrates the full recipe: a dark-but-contrasty tone, and a \"desaturate first, then tint\" color workflow, with timestamps for every key step."},{"t":"img","f":"v01","w":852,"h":480},{"t":"h","x":"01 风格拆解:暗调高对比低饱和","xe":"01 Decoding the Style: Dark, Contrasty, Desaturated"},{"t":"p","x":"Benjamin Hardman 的照片几乎都拍于阴天或雨天，而且画面里保留着一定的光线——这种光不是后期渲染出来的，而是前期就存在的，后期再把它做成暗调。看右上角的直方图会发现：所有照片的像素大部分堆积在左侧，说明整体偏暗；但对比都很强，因为每张照片里阳光照亮的部分都被提得很亮（视频 0:54 处）。","xe":"Benjamin Hardman's photos are almost all shot on overcast or rainy days, yet they keep some real light in the frame — that light isn't painted in post; it exists on location, and the dark look is built in post. Check the histogram in the top-right corner: most pixels pile up on the left, meaning the image sits dark overall — but the contrast is strong, because the sunlit areas in every frame are pushed bright (at 0:54 in the video)."},{"t":"img","f":"v03","w":852,"h":480},{"t":"img","f":"v04","w":852,"h":480},{"t":"p","x":"色彩上，这是一个非常低饱和的风格：取样会发现 RGB 三个数值非常接近，整体偏向一个青蓝色。总结出这些特点，调色思路就出来了——影调上压暗整张照片，同时在压暗时保住对比度，特别是亮部的对比度，用曝光、白色和局部调整工具来处理；色彩上让高光和阴影都偏青蓝，一个简单有效的方法是「先去色再上色」：先用饱和度或 HSL 工具把原片里的黄色等颜色去掉，再用白平衡、分离色调、HSL 把青蓝色上上去（视频 1:37 处）。","xe":"In color, this is a strongly desaturated style: sampled pixels show R, G, and B values very close together, with an overall cyan-blue lean. Once the traits are clear, the recipe follows — tonally, darken the whole frame while preserving contrast, especially in the highlights, using exposure, whites, and local adjustments; in color, push both highlights and shadows toward cyan-blue. A simple, effective way is \"desaturate first, then tint\": strip the original yellows with the saturation or HSL tools, then add the teal-blue back via white balance, split toning, and HSL (at 1:37 in the video)."},{"t":"img","f":"v02","w":852,"h":480},{"t":"h","x":"02 影调:压暗但保住亮部对比","xe":"02 Tone: Darken Without Losing Highlight Contrast"},{"t":"p","x":"第一步压曝光：整张照片是低调（暗调），把曝光值压下去，直方图整体压到画面左边。压完发现对比度不足，这时候轮到白色工具——白色决定画面中最亮的部分，把白色值往右移，画面中亮的地方重新变得非常亮，对比度就恢复了。但白色不用拉很高：拉多了整体会变亮、乌云也跟着亮起来，提到一个适当的值，让乌云别太亮、雪山部分足够亮就完成了（视频 2:35 处）。","xe":"Step one: pull the exposure down. The image is a low-key shot, so lowering exposure pushes the whole histogram toward the left. That flattens contrast, which is where the whites slider comes in — whites set the brightest point of the frame, and raising them makes the bright areas glow again, restoring contrast. But don't overdo it: too much and the whole image, dark clouds included, brightens again. Find a middle value where the clouds stay dark and the snowy mountain stays bright (at 2:35 in the video)."},{"t":"img","f":"v05","w":852,"h":480},{"t":"img","f":"v06","w":852,"h":480},{"t":"p","x":"仔细观察 Hardman 的照片还有一个细节：最暗的部分不是纯黑，而是深灰色。做法就是经典的胶片曲线——把黑场往上提，直方图最左侧最暗的部分不再是纯黑而是深灰；但提亮黑场会让整体变亮、对比度又不足，所以在上面再拉一个 S 型曲线增加反差。提黑场加 S 曲线，这就是非常经典的胶片曲线（视频 3:31 处）。","xe":"Look closer at Hardman's photos and there's another detail: the deepest shadows aren't pure black but a dark gray. The classic film curve does exactly this — lift the black point so the darkest pixels turn dark gray instead of black; but that lifts the whole image and softens contrast, so add an S-curve on top for punch. Lifted blacks plus an S-curve: the timeless film curve (at 3:31 in the video)."},{"t":"img","f":"v07","w":852,"h":480},{"t":"p","x":"接下来用局部调整进一步塑形。Hardman 的照片都是中间雪山有光的部分很亮，而两边的大海、天空都很暗。做法：拉渐变，曝光值减 0.5，天空一个不够再拉一个，右上角偏亮就再补一个，大海再来一个——这样就把天空和大海整体压暗了（视频 4:23 处）。","xe":"Next, shape the frame with local adjustments. Hardman's images are always brightest in the lit center — the mountain — while the sea and sky on both sides sit dark. The recipe: pull gradients with exposure at -0.5, one across the sky (a second if one isn't enough), another for the bright top-right corner, and one more over the sea — and the sky and sea darken as a whole (at 4:23 in the video)."},{"t":"img","f":"v08","w":852,"h":480},{"t":"p","x":"光压暗两边不够，中间还要提亮。重置局部调整参数后：一方面增加曝光提升整体亮度；同时增加白色——白色管的是画面最亮的部分，雪山上最亮的区域会提得更多。然后用渐变滤镜配合光的方向来提亮：光从左边打过来，就在左侧拉一个，再拉一个大的整体渐变，让过渡更舒服、更均匀。提亮时注意别过曝——回到曲线工具，把最亮的那个点压下来一点点，亮部就不会溢出（视频 4:45 处）。","xe":"Darkening the edges isn't enough — the center needs lifting too. Reset the local adjustments, then raise exposure for overall brightness and boost whites — since whites govern the brightest values, the brightest snow gets the biggest lift. Then use gradient filters along the direction of the light: it comes from the left, so add a gradient there, plus a larger overall one for a smooth, even transition. Watch for clipping while brightening — go back to the curve tool and pull the very top point down slightly so the highlights never blow out (at 4:45 in the video)."},{"t":"img","f":"v09","w":852,"h":480},{"t":"img","f":"v10","w":852,"h":480},{"t":"h","x":"03 色彩:先去色再上色","xe":"03 Color: Desaturate First, Then Tint"},{"t":"p","x":"去色很简单：用饱和度工具整体一减，照片的颜色就压下来了；再用 HSL 工具把画面中间的黄色、橙色饱和度进一步降低，颜色就去掉了很多。注意饱和度的降低要适度——不要降到零，否则变成黑白照片，等会上色会更复杂，要留一点原本的颜色打底（视频 5:51 处）。","xe":"Desaturating is simple: pull the global saturation down to mute the photo, then use HSL to cut the yellows and oranges further, stripping out most of the original color. But moderate the reduction — don't drop it to zero, or you get a black-and-white image and tinting gets much harder; keep a little of the native color as a base (at 5:51 in the video)."},{"t":"img","f":"v11","w":852,"h":480},{"t":"p","x":"上色第一步是白平衡：把色温调到 4900 左右，色调再往左移一点，整张照片就偏成一种青蓝色。然后是最关键的一步——分离色调。Hardman 的高光和阴影色相其实有细微区别。调阴影色相时有个技巧：直接拖动色相滑块是没法预览的，按住键盘上的 Alt 键，就能预览当前给阴影添加的是什么颜色。阴影色相让它偏蓝、偏蓝紫一点，比如 239；饱和度不要太高——Hardman 照片的 RGB 数值非常接近，并不特别饱和，做到 9 左右就差不多了（视频 6:26 处）。","xe":"Tinting starts with white balance: set the temperature around 4900 and nudge the tint slightly left, and the whole photo leans cyan-blue. Then comes the key step — split toning. Hardman's highlights and shadows actually sit at slightly different hues. A trick while tuning the shadow hue: dragging the slider gives no live preview, but hold the Alt key and you can see exactly what color you're adding to the shadows. Push the shadow hue toward blue, even blue-violet — say 239 — and keep saturation modest: Hardman's pixels have R, G, B values very close together, so around 9 is plenty (at 6:26 in the video)."},{"t":"img","f":"v12","w":852,"h":480},{"t":"p","x":"高光则做一个稍稍偏青蓝一点的颜色，比如色相 209、216 等等——和阴影的蓝错开，高光和阴影都带蓝但不是一模一样的蓝，画面就有层次了。高光饱和度按自己的喜好来：想让高光附上那种非常迷人的青色，就调高一点点。Hardman 也不是每张都一样——有的照片高光明显偏青、饱和度稍高，有的则很低饱和。这张照片 Thomas 不想让它太饱和，高光增加一点点青色饱和度就可以了（视频 7:34 处）。","xe":"For the highlights, pick a slightly cyan-leaning blue — hue 209, 216, and so on — offset from the shadow blue so the two are related but not identical, which gives the image layered depth. Highlight saturation is a matter of taste: for that captivating cyan cast in the bright areas, push it a bit higher. Hardman varies too — some photos read clearly cyan and moderately saturated in the highlights, others stay very desaturated. For this frame Thomas didn't want heavy saturation, just a touch of cyan in the highlights (at 7:34 in the video)."},{"t":"img","f":"v13","w":852,"h":480},{"t":"img","f":"v14","w":852,"h":480},{"t":"h","x":"04 收尾与整条流程复盘","xe":"04 Finishing Touches and a Full Recap"},{"t":"p","x":"到这里照片基本完成了。如果觉得还不够暗，把曝光值再降下来一点点，同时曲线的暗部不要提得太高、稍稍留一点暗部——这样一个暗调、青色调、非常流行的 INS 风格照片就处理完成了（视频 8:24 处）。","xe":"At this point the image is essentially done. If it still isn't dark enough, lower the exposure a touch more, and don't lift the curve's shadows too high — keep a little depth in the blacks. That completes this dark, teal-toned, very Instagram-look photo (at 8:24 in the video)."},{"t":"p","x":"回看整条思路其实非常简单。影调上：降低曝光、提升白色做出高对比度的暗调，再用渐变滤镜把两边压暗、中间提亮；色彩上：先去色——降低整体饱和度，用 HSL 把画面中原有的颜色（这张是黄色、蓝色）饱和度降掉，画面里原来有绿色、紫色也一并降低；再上色——白平衡加分离色调两个工具，调出迷人的青蓝色调。最后还有微调空间：觉得蓝色色相不好，可以用 HSL 再调整蓝色色相，偏紫一点或偏青一点，全凭自己的审美（视频 8:47 处）。","xe":"Looking back, the recipe is remarkably simple. Tone: lower exposure, raise whites for a contrasty dark look, then darken the edges and brighten the center with gradients. Color: desaturate first — drop global saturation and use HSL to cut whatever colors the scene has (yellows and blues here; greens and purples too if present); then tint — white balance plus split toning for that captivating teal-blue. Fine-tuning comes last: if the blue hue feels off, adjust it in HSL toward purple or cyan, entirely by your own taste (at 8:47 in the video)."},{"t":"quote","x":"1. 风格配方：直方图压左的暗调、强对比（亮部提亮）、低饱和（RGB 数值接近）、整体偏青蓝；2. 影调三板斧：降曝光、升白色恢复亮部对比，胶片曲线（提黑场加 S 曲线）让最暗处呈深灰，渐变压暗两边、提亮中间并用曲线压住最亮点防过曝；3. 调色口诀「先去色再上色」：饱和度加 HSL 去掉原色但别降到黑白，色温 4900 加色调左移偏青蓝，分离色调阴影 239、高光 209/216 错开层次，饱和度宜低；4. 实用技巧：按住 Alt 键可实时预览分离色调给阴影添加的颜色。","xe":"1. The style recipe: left-packed dark histogram, strong contrast (bright sunlit areas), low saturation (RGB values nearly equal), and an overall cyan-blue cast; 2. Three tone moves: drop exposure, raise whites to restore highlight contrast, apply a film curve (lifted blacks plus S-curve) for dark-gray shadows, then gradients darken the edges, the center gets lifted, and the curve's top point is pulled down to prevent clipping; 3. The color mantra \"desaturate first, then tint\": saturation plus HSL to strip native colors (not all the way to black-and-white), temperature 4900 with tint left for a cyan lean, split toning at shadow hue 239 and highlight 209/216 for layered blues at low saturation; 4. Handy trick: hold Alt to preview live the color you're adding to the shadows in split toning."},{"t":"h","x":"欢迎关注托马斯的旅行与摄影攻略","xe":"Follow Thomas for more travel and photography tips"}],"titleEn":"Those Stunning Muted Teal-Blue Instagram Photos — Here's the Recipe"}