{"slug":"jiangxi-fairyland-photo","title":"江西竟有如此仙景！摄影师如何把人造景点拍出梦幻感？","author":"Thomas看看世界","date":"2022-12-09","wechat":"https://mp.weixin.qq.com/s?__biz=MzI4NDA5MzE5NQ==&mid=2247496663&idx=1&sn=3b1b010b9295da5d134194e004740782&chksm=eb820db3dcf584a5a2908e9e6d7ced9ff2d15774ca5d9ec2533b95903321aefde53b6e222fa0&scene=21#wechat_redirect","blocks":[{"t":"p","x":"如何把一个稍显杂乱的人造景区，拍出梦幻仙境般的效果？","b":false,"xe":"How do you turn a slightly cluttered man-made scenic spot into a dreamy fairyland image?"},{"t":"p","x":"今天的视频教程中，Thomas就会在风光拍摄的现场，教大家如何通过取景构图，规避画面中的不利因素，最终拍出一张现实中的浮空金阁大片。","b":false,"xe":"In today's video tutorial, Thomas teaches you on location how to use framing and composition to avoid the unfavorable elements in the scene, ultimately capturing a stunning shot of a 'floating golden pavilion' in the real world."},{"t":"img","f":"img-01","w":1080,"h":720},{"t":"h","x":"视频","xe":"Video"},{"t":"bili","bv":"BV1Z8411G75G","bpic":"bili-1","bt":"我在江西拍到了现实中的原神群玉阁！摄影教程来啦~"},{"t":"p","x":"这一篇是上面视频的完整图文整理。Thomas 这次去了江西婺源今年新开的婺女洲景区——一个人造的仿古景区，白天看起来甚至有些杂乱，但他最终拍出了一张宛如「现实版群玉阁」的梦幻夜景。视频里从选夜晚还是选白天、取景机位的两次转移、到两套实拍参数和时间合成，完整走了一遍出片全流程，这里配上关键帧截图逐一展开。","xe":"This is the fully illustrated companion to the video above. Thomas visited Wunüzhou, a brand-new man-made scenic area in Wuyuan, Jiangxi — a fake-antique town that looks downright cluttered by day, yet he walked away with a dreamlike night frame straight out of a fantasy novel, a real-life \"Jade Chamber\". The video walks the whole process — night over day, two location moves, two sets of camera settings and a time blend — all unpacked here with keyframe screenshots.","b":false},{"t":"h","x":"01 用夜晚遮住杂乱：人造景区的第一道取舍","xe":"01 Night as a Curtain: The First Trade-off in a Man-made Scenic Area"},{"t":"p","x":"婺女洲是今年才开放的新景区，坐落在婺源县城边上，周围有高铁线路和各种普通住宅楼。视频 1:22 处的白天航拍很说明问题：高角度之下，仿古建筑、县城楼房、运动场一览无余，画面显得相当杂乱。人造景区缺少自然山水的「过滤」，白天拍摄几乎躲不开这些不利因素。","xe":"Wunüzhou opened only this year, sitting right on the edge of the Wuyuan county town with a high-speed rail line and ordinary apartment blocks all around. The daytime aerial at 1:22 makes the problem obvious: from a high angle the fake-antique buildings, county housing and a sports field all lie bare in one frame — genuinely cluttered. A man-made scenic area lacks the filtering power of natural landscape, and by day there is almost no hiding these distractors."},{"t":"img","f":"v01","w":852,"h":480},{"t":"p","x":"Thomas 的第一道取舍是用夜晚解决问题（视频 1:44 处）：这个景区核心打造的本来就是夜景，等周边一黑下来，环境变得非常黑，画面里只剩下灯光点亮的区域——杂乱的楼房和高铁线全部被夜色遮掩，留下的只有繁华与漂亮（视频 1:53 处，航拍夜景对比一目了然）。","xe":"Thomas's first trade-off was to let night do the work (at 1:44 in the video): the area's core attraction is its night scene anyway. Once darkness falls and the surroundings go black, only the lit zones remain in the frame — the cluttered buildings and the rail line vanish into the night, leaving nothing but glitter and glow (the aerial comparison at 1:53 makes this immediately clear)."},{"t":"img","f":"v02","w":852,"h":480},{"t":"h","x":"02 浮空金阁：从原神群玉阁到现实舞台","xe":"02 The Floating Golden Pavilion: From Genshin's Jade Chamber to Reality"},{"t":"p","x":"第二道取舍是找到值得拍的核心主体。Thomas 一进景区就锁定了湖心的这座金阁：整体是一个浮空的造型，只在下面留了一根柱子支撑。他笑称这样的悬空建筑以前只在小说或《原神》里见过——游戏里璃月港的群玉阁正是这样一座浮空楼阁（视频 2:33 处），如今它真的出现在现实生活中，作为一个摄影师不可能不动心。","xe":"The second trade-off was finding a subject worth shooting. Thomas locked onto the golden pavilion on the lake the moment he entered: the whole structure appears to float, held up by a single pillar beneath. He jokes that such a suspended building used to exist only in novels or in Genshin Impact — the Jade Chamber over Liyue Harbor is exactly this kind of floating pavilion (at 2:33 in the video). Seeing one appear in real life, a photographer cannot resist."},{"t":"img","f":"v03","w":852,"h":480},{"t":"p","x":"设计者显然也懂摄影：金阁的支撑柱漆了一圈白色的银色反光材料，尽量反射周边光线让柱子不显眼；到了晚上，四周还会落下两道水帘，几乎能把中间的柱子完全遮掉（视频 2:47-3:11 处）。所以拍摄策略就此确定——以这座「会飞的金阁」为核心，夜景 + 水帘 + 湖面倒影，来安排取景构图（视频 3:12 处）。","xe":"The designers clearly understand photographers too: the supporting pillar is painted with a ring of silvery reflective material to bounce back the ambient light and stay unnoticed; and at night two water curtains drop around it, almost completely hiding the pillar (2:47-3:11 in the video). The strategy was settled — build the composition around this \"flying pavilion\": night scene, water curtains and lake reflections (at 3:12 in the video)."},{"t":"img","f":"v04","w":852,"h":480},{"t":"h","x":"03 取景构图：石墩前景与桥上的进阶机位","xe":"03 Composition: a Stone-bollard Foreground and the Advanced Bridge Position"},{"t":"p","x":"第一个机位在湖边岸边。视频 3:21 处Thomas 讲解了前几天在这里拍的照片：下面专门取了一层石墩和链条做前景，质感非常棒；中间是湖面；后面正好是浮空金阁和远处亮灯的建筑。为了等一艘船划到最好的位置，他在这里一直连拍，再经后期调色强化氛围（视频 3:50-3:58 处）。","xe":"The first position was on the lakeshore. At 3:21 in the video, Thomas breaks down the photo he shot there days earlier: the bottom takes a layer of stone bollards and chains as a highly textured foreground, the middle is the lake surface, and behind floats the golden pavilion with lit buildings in the distance. He kept burst-shooting until a boat glided into the best spot, then strengthened the mood in post (3:50-3:58 in the video)."},{"t":"img","f":"v05","w":852,"h":480},{"t":"p","x":"但这个机位有个遗憾：景区后方还有一座非常高的抱玉塔，以及两边的楼阁，没能进入画面（视频 4:09 处）。前面金阁、后面高塔，如果能把它们装进同一张照片，纵深感会震撼得多。于是他转移到对面桥上——视频 4:31 处，浮空金阁与远处的抱玉塔正好连在了一起，周边建筑鳞次栉比，今晚就在这里实际拍摄。","xe":"But this position had a regret: behind the area stands a very tall tower, the Baoyu Pagoda, flanked by pavilions, none of which fit the frame (at 4:09 in the video). Golden pavilion in front, tall tower behind — getting both into one photo would make the depth far more impressive. So he moved across the lake to a bridge: at 4:31 the floating pavilion and the distant pagoda line up perfectly, with buildings marching in rows between — and that is where the night's actual shoot would happen."},{"t":"img","f":"v06","w":852,"h":480},{"t":"h","x":"04 等待时机：人造雾气与落下的水帘","xe":"04 Waiting for the Moment: Artificial Mist and the Falling Water Curtains"},{"t":"p","x":"机位定了，剩下的是等待。傍晚湖边会释放出雾气，制造出非常仙气的效果——视频 5:01 处揭了秘：这些雾气其实是藏在草丛里的喷头喷出来的，但效果已经足够梦幻。同时还要等金阁的水帘落下，完全遮住中间的柱子（视频 5:11 处）。视频 4:52 处这张蓝调时刻的截图里，雾气、水帘、亮灯的塔与金阁已经全部就位，只等天再黑一点。","xe":"With the position settled, the rest is waiting. Toward evening the lakeside releases mist for a fairyland effect — and the video lifts the curtain at 5:01: the mist comes from sprinklers hidden in the grass, yet the result is dreamy enough. You also wait for the pavilion's water curtains to drop and fully cover the pillar (at 5:11). In the blue-hour frame at 4:52, mist, water curtains and the lit tower and pavilion are all in place — just waiting for the sky to darken a little more."},{"t":"img","f":"v07","w":852,"h":480},{"t":"img","f":"v08","w":852,"h":480},{"t":"h","x":"05 两套参数与时间合成：雾气船影一张收","xe":"05 Two Sets of Settings and a Time Blend: Mist and Boat in One Frame"},{"t":"p","x":"第一套参数为雾气与金阁服务：ISO100、f/8、曝光补偿直接 -2，快门自动约 1/8 秒（视频 5:17 处）。压两档是为了让画面里的灯光不要过曝——夜景灯光一旦溢出就救不回来，暗部阴影则可以放心交给后期提亮。同时开启间隔拍摄，每隔 5-10 秒自动拍一张（视频 5:40 处）：湖面雾气一直在变化，谁也不知道哪一刻形态最好，多拍既锁定最佳瞬间，也给后期留出做时间合成的素材。","xe":"The first set of settings serves the mist and the pavilion: ISO 100, f/8, exposure compensation straight at -2, shutter on auto at about 1/8 s (at 5:17 in the video). Pulling two stops keeps the lights from blowing out — clipped night lights are unrecoverable, while shadows can safely be lifted in post. Interval shooting runs alongside, firing a frame every 5-10 seconds (at 5:40): the mist over the lake never stops changing, nobody knows which moment looks best, and a deep pile of frames both locks in the peak moment and stocks material for a time blend."},{"t":"img","f":"v09","w":852,"h":480},{"t":"img","f":"v10","w":852,"h":480},{"t":"p","x":"随后他发现湖面有船在不断移动，船取进画面会非常有意境——但拍船的参数必须换：ISO800、f/4、曝光补偿 -0.7，快门约 1/40 秒（视频 6:13 处）。这个快门下慢速移动的船不会糊成一片，连续抓拍不同的雾气形态和不同的船，最后用时间合成的方式合并到一张图片里（视频 6:35 处）——雾气最佳的一层打底，把最好的那艘船合成进去，就是最终的成片：金阁水帘、远处的抱玉塔、一艘小船，全都梦幻无比。","xe":"Then he noticed boats gliding across the lake — a boat in frame adds real mood, but shooting one demands different settings: ISO 800, f/4, -0.7 EV, shutter around 1/40 s (at 6:13 in the video). At that shutter speed a slow-moving boat stays sharp, and by continuously capturing different mist shapes and different boats, he merged everything into a single image with a time blend (at 6:35) — the best mist layer as the base with the best boat blended in. The final frame holds it all: the pavilion behind falling water, the pagoda in the distance, and one little boat — utterly dreamlike."},{"t":"img","f":"v11","w":852,"h":480},{"t":"img","f":"v12","w":852,"h":480},{"t":"quote","x":"1. 人造景区白天躲不开杂乱背景，就用夜晚遮掩：天一黑，画面只剩灯光点亮的区域；2. 先找到值得拍的核心主体——浮空金阁 + 水帘 + 湖面倒影，再为它转移机位，把远处的抱玉塔收进同一画面增加纵深；3. 等待是构图的一部分：人造雾气、落下的水帘、入画的船，都要等；4. 两套参数各司其职：ISO100 f/8 -2EV 间隔拍雾保高画质，ISO800 f/4 -0.7EV、1/40 秒抓船防糊，最后时间合成一张收齐所有最佳元素。","xe":"1. When a man-made scenic area cannot hide its cluttered background by day, let night do it: in darkness only the lit zones remain in frame; 2. Find the subject worth shooting first — floating pavilion, water curtains, lake reflections — then move positions to pull the distant pagoda into the same frame for depth; 3. Waiting is part of composition: artificial mist, falling water curtains and an entering boat all take time; 4. Run two settings, each to its strength: ISO 100, f/8, -2 EV intervals for clean mist frames, ISO 800, f/4, -0.7 EV at 1/40 s to freeze boats, then a time blend gathers every best element into one image."}],"titleEn":"Such a Fairyland in Jiangxi! How a Photographer Made a Man-Made Spot Look Dreamlike"}