{"slug":"landscape-2021-post-errors","title":"风光摄影大奖作品竟成反面教材！这些后期错误你犯过吗？","author":"Thomas看看世界","date":"2022-03-06","wechat":"https://mp.weixin.qq.com/s?__biz=MzI4NDA5MzE5NQ==&mid=2247494728&idx=1&sn=fade63981afd6da99bbbd9dae2c83063&chksm=eb82122cdcf59b3a1c8b584f9ae4a8f5646531106423654c2ae3484fedc5e1cc839bd4a4c7fe&scene=21#wechat_redirect","blocks":[{"t":"h","x":"Thomas看看世界","xe":"Thomas Chu Photo"},{"t":"p","x":"后期效果过于夸张，完全不像真的；","b":false,"xe":"Post-processing effects too exaggerated, looking completely unreal;"},{"t":"p","x":"画面没有主次、所有元素都充满细节；","b":false,"xe":"The frame has no hierarchy, with every element packed with detail;"},{"t":"p","x":"后期合成时焦段、光线等明显错位？","b":false,"xe":"Obvious mismatches in focal length, lighting, etc. during post-processing compositing?"},{"t":"p","x":"这些后期常见错误不光摄影初学者容易犯，没想到去年的世界风光摄影比赛大奖身上也一个不落！","b":false,"xe":"These common post-processing mistakes aren't just made by beginners — surprisingly, last year's grand prize winners in the World Landscape Photography Contest made every single one of them!"},{"t":"p","x":"今天的摄影教程，我会对2021年世界风光摄影师大赛的一些获奖作品进行点评，并和大家分享其中常见的后期错误。","b":false,"xe":"In today's photography tutorial, I'll review some award-winning works from the 2021 International Landscape Photographer of the Year and share the common post-processing mistakes found in them."},{"t":"h","x":"视频","xe":"Video"},{"t":"bili","bv":"BV16q4y147pK","bpic":"bili-1","bt":"风光摄影大奖作品竟成反面教材！这些后期错误你犯过吗？"},{"t":"p","x":"这一篇是上面视频的完整图文整理。Thomas 把这期 9 分钟的点评落成了文字，并配上视频关键帧截图——先逐张分析 2021 年国际风光摄影师大赛一等奖的四张作品，指出光线方向悖论、月亮比例失调、提亮过猛与选区太平等常见后期错误；再对照 Max Rive 等高手同样用加深减淡却为何不假，最后归纳统一色调、暗角与「符合前期印象」的原则。适合先看图建立框架，再回到视频里对照每一张的细节。","xe":"This is the fully illustrated companion to the video above. Thomas turned the 9-minute critique into text and paired it with keyframe screenshots — first analysing, one by one, the four images that won first place at the 2021 International Landscape Photographer of the Year, pointing out common post-processing mistakes such as contradictory light direction, an out-of-scale moon, heavy-handed dodging and flat selections; then contrasting them with Max Rive and other masters who use the same dodge-and-burn tools without looking fake; and finally distilling the principles of unified colour, vignettes and staying true to the impression of the scene. Skim it here for the framework, then go back to the video to compare the details.","b":false},{"t":"p","x":"先看总览。下面这张截自视频 0:49 处，是大赛官网的结果页——2021 年国际风光摄影师年度大奖得主是土耳其摄影师 Aytek Çetin。这个比赛纯粹以风光照片的视觉冲击力和美观程度评判；一等奖需要提交摄影师的四张照片，而今年的一等奖，Thomas 认为是有一些争议的（视频 0:52 处）。","xe":"Start with the overview. Captured at 0:49 in the video, this is the results page of the competition website — the 2021 International Landscape Photographer of the Year is Turkish photographer Aytek Çetin. The contest judges purely on the visual impact and beauty of landscape photographs, and the top award is decided on a portfolio of four images. This year's winner, Thomas argues, is somewhat controversial (at 0:52 in the video).","b":false},{"t":"img","f":"v01","w":768,"h":480},{"t":"h","x":"01 一等奖的四张照片：光线悖论与用力过猛","xe":"01 The Four Winning Images: Contradictory Light and Heavy Hands"},{"t":"p","x":"第一张是常见的框架型构图：用岩石做前景框架，中间是侧光下很有立体感的山体，一条引导线通向画面中央，远处还有石林。Thomas 觉得这张中规中矩（视频 1:03 处）。","xe":"The first image uses a familiar frame-within-a-frame composition: rock as the foreground frame, a side-lit, sculptural formation in the middle, a leading line into the centre and hoodoos in the distance. Thomas finds it competent but unremarkable (at 1:03 in the video).","b":false},{"t":"img","f":"v02","w":768,"h":480},{"t":"p","x":"第二张的第一个问题是：光到底从哪来？月亮挂在画面里，那么树应该是中间黑、两边有光；但地景却是右侧受光、左侧暗，做出立体感，月亮又挂到了我们的正后方——地景的侧光和月亮的逆光形成了悖论，处理得非常假（视频 1:26 处）。第二个问题是比例：这是中广角的构图，月亮却是长焦的大小，还把月亮的细节都做出来了。Thomas 经常看到有人喜欢在广角构图里把月亮放得特别大、细节特别多，观感其实不好——并不是树木、石林、月亮、天空所有地方都要有细节，有时强化地景、弱化星空和月亮会更好。","xe":"The first problem with the second image: where is the light coming from? With the moon in the frame, the tree should be dark in the middle with light catching both edges; yet the ground is lit from the right and dark on the left, sculpted as if the moon hung directly behind the viewer — the side light on the land and the backlight of the moon contradict each other, and it looks deeply artificial (at 1:26 in the video). The second problem is scale: the composition is a moderate wide-angle, but the moon is telephoto-sized, with all its surface detail pulled out. Thomas often sees people enlarge the moon and pile on lunar detail in wide-angle scenes, and it rarely looks good — not every tree, rock, moon and patch of sky needs detail; often it is better to strengthen the land and let the sky and moon recede.","b":false},{"t":"img","f":"v03","w":768,"h":480},{"t":"p","x":"对照 Thomas 自己的几张月亮照片：他不喜欢把月亮的细节做出来，也不会把月亮处理得特别大，因为他要突出的是地景，月亮只是一个光源的感觉（视频 2:27 处）。","xe":"Compare Thomas's own moon photographs: he prefers not to extract lunar detail or enlarge the moon, because the land is the subject and the moon is there only as a source of light (at 2:27 in the video).","b":false},{"t":"img","f":"v04","w":768,"h":480},{"t":"p","x":"第三张的问题是用力过猛。要提升树木的立体感，常见做法是中间提亮、两边压暗；但看光源——更像是从侧后方来的，把远处的日照金山打亮——树木的亮部就太亮了，立体感提得有点假（视频 2:50 处）。后面为了压暗天空、拉开山峰层次，做的选区又太平；而且山明显做了变形。更合理的做法是提亮幅度别这么大，并配合亮度蒙版，只对树叶的高光部分提亮，整体光感会好很多。","xe":"The third image is simply overworked. To give a tree more dimension, the usual move is to brighten the centre and darken the sides; but look at the light — it comes from behind and to the side, lighting the distant sunlit peak — so the tree's highlights are far too bright and the added depth reads as fake (at 2:50 in the video). Behind it, the selections used to darken the sky and separate the mountain layers are too flat, and the mountain has clearly been warped. A more sensible approach: brighten far less, and use a luminosity mask so that only the highlights on the foliage are lifted — the overall sense of light improves dramatically.","b":false},{"t":"img","f":"v05","w":768,"h":480},{"t":"p","x":"第四张的侧光是从侧面来的，在这里做一点光晕、光线渲染，或者把山峰的立体感做得更强，都符合我们的感受（视频 3:57 处）。反过来，明明太阳光还没照到前景，树木却那么立体，就会特别假；而山峰那边明明有光过来，可以把立体感塑造得更强，却没有做，反而显得差了一些（视频 4:11 处）。","xe":"In the fourth image the side light genuinely arrives from the side, so adding a little glow, rendering the light or strengthening the relief of the peak would all agree with how we perceive the scene (at 3:57 in the video). Conversely, when sunlight has not yet reached the foreground yet the trees are heavily sculpted, it looks fake; while the peak that really is catching light could have been given more depth but was left flat and weaker for it (at 4:11 in the video).","b":false},{"t":"img","f":"v06","w":768,"h":480},{"t":"h","x":"02 高手也用同样的方法：加深减淡要有主次","xe":"02 Masters Use the Same Tools: Dodge and Burn Needs Hierarchy"},{"t":"p","x":"接下来的照片很值得学习。拍星空的——无论彗星还是流星——都找了比较高的位置，把云海一起拍进来，结合得很好；这张可能做了时间合成，把日出前的云海和夜晚的天空结合到一起（视频 4:42 处）。","xe":"The images that follow are worth studying. The night-sky shooters — whether chasing a comet or a meteor shower — climbed to a high vantage point and brought a sea of clouds into the frame, a strong combination; this one may be a time blend, pairing the pre-dawn cloud sea with the night sky (at 4:42 in the video).","b":false},{"t":"img","f":"v07","w":768,"h":480},{"t":"p","x":"再看 Max Rive 的照片。如果你看过他放在 Thomas 这里的课程，就知道他也会做大量的加深减淡，比如这些石头都做了；但一定有主次——最亮的一定是受光的云层或水流，其次才是树木；岩石的立体感不需要做很强，简单做一点点就可以，不要太猛（视频 5:01 处）。","xe":"Now look at Max Rive. If you have seen the course he hosts with Thomas, you know he too does a great deal of dodging and burning — these rocks, for instance — but always with a hierarchy: the brightest areas are the lit clouds or the water, then the trees; the rocks need only a little relief, a light touch rather than force (at 5:01 in the video).","b":false},{"t":"img","f":"v08","w":768,"h":480},{"t":"img","f":"v09","w":768,"h":480},{"t":"p","x":"这张同样做了大量加深减淡，但做得特别细，配合了亮度蒙版，不是那种很硬的笔刷。后面的山都是勾勒出来的，你却不会觉得假——因为它和光线的形态、方向给人的感觉是符合的：最外面受光的岩石对比做得特别强，其他岩石只是微微提一下、把细节勾出来，而不是所有岩石都像受光面一样强烈（视频 5:44 处）。高手和有瑕疵的作品用的是同样的后期方法，效果差别却非常大。","xe":"This one is also heavily dodged and burned, but with great finesse, guided by luminosity masks rather than a hard brush. The mountains behind are all outlined, yet nothing looks fake — because it agrees with the shape and direction of the light as we feel it: the outermost sunlit rocks get strong contrast, the rest are only nudged, their detail traced, instead of every rock being pushed as hard as the lit faces (at 5:44 in the video). The masters and the flawed entries use the same post-processing methods; the results differ enormously.","b":false},{"t":"img","f":"v10","w":768,"h":480},{"t":"h","x":"03 统一色调与暗角：后期要符合前期的印象","xe":"03 Unified Colour and Vignettes: Post Must Match the Impression in the Field"},{"t":"p","x":"这几张可以学习调色：都是比较统一的色调，要么单色调，要么相邻色调。树林场景国外摄影师很喜欢拍，但一般都选雨天、雪天、雾天——不是雨雾天气，树林拍出来会特别乱，一定要有雾气才合适（视频 6:29 处）。森林的调色一般也是单色调或相邻色调：黄绿、纯绿、青色、蓝色等等，出来的结构都非常舒服（视频 7:31 处）。","xe":"These frames are a lesson in colour: each keeps to a unified palette, either monochromatic or analogous. Photographers abroad love forest scenes, but they shoot them in rain, snow or fog — without mist a forest turns into a mess, so foggy weather is essential (at 6:29 in the video). Forest grading likewise tends toward a single or analogous palette — yellow-green, pure green, teal, blue — and the results are always easy on the eye (at 7:31 in the video).","b":false},{"t":"img","f":"v11","w":768,"h":480},{"t":"p","x":"这张明显做了暗角，周边是人为压暗的，现实中不会有这么大的明暗反差，但你会觉得符合感受——因为光源来自中间，中间亮、两边暗是自然的推断。逆光照片压暗周围没有问题；但如果是顺光照片，把周围压得这么暗就会特别假、特别不舒服（视频 6:57 处）。所以后期一定要把握前期的印象和感觉，不要做得太失真。","xe":"This one has an obvious vignette — the edges are deliberately darkened, far beyond any real-world contrast — yet it feels right, because the light source sits in the centre and a bright middle with dark edges is the natural inference. Darkening the surround of a backlit image is fine; do the same to a front-lit photograph and it looks fake and uncomfortable (at 6:57 in the video). Post-processing must hold on to the impression and feeling of the scene, never drifting into distortion.","b":false},{"t":"p","x":"这张鹅卵石也很有启发：找到一堆鹅卵石，拍它的结构和光泽，后期提亮中间、把周边的鹅卵石压暗，好像舞台的聚光灯打在中间一样。河边随手一堆鹅卵石，也能拍出特别的效果（视频 7:44 处）。","xe":"The pebbles are instructive too: find a pile, photograph its structure and sheen, then brighten the centre and darken the surrounding stones so it reads like a stage spotlight. A random heap of pebbles by a river can yield something special (at 7:44 in the video).","b":false},{"t":"img","f":"v12","w":768,"h":480},{"t":"h","x":"04 Top 101 里的其他佳作","xe":"04 More Highlights from the Top 101"},{"t":"p","x":"之后还有非常多入选 Top 101 的作品，Thomas 没有逐张点评，留给大家静静欣赏（视频 8:06 处）——平静水面上的枯树与云影、雾中的森林、冬日霜林、沙丘与海岸，风格各异，但共同点是色调统一、主次分明，后期都没有脱离前期看到的那一眼印象。","xe":"Many more entries from the Top 101 follow; Thomas leaves them without commentary for quiet appreciation (at 8:06 in the video) — dead trees mirrored on still water beneath a cloud, forests in fog, frosted winter woods, dunes and coastlines. The styles vary, but they share a unified palette, a clear hierarchy, and post-processing that never strays from the first impression of the scene.","b":false},{"t":"img","f":"v13","w":768,"h":480},{"t":"img","f":"v14","w":768,"h":480},{"t":"quote","x":"1. 光线方向要自洽：地景侧光就不能让月亮挂在正后方，太阳没照到的前景别做立体感，有光的山峰才值得强化；2. 广角构图别放长焦大小的月亮，也不必处处细节——强化地景、弱化星月往往更好；3. 加深减淡人人都做，区别在主次与细腻：最亮留给受光的云与水，树其次，岩石轻描，用亮度蒙版只提高光，不用硬笔刷；4. 统一色调（单色或相邻色）、雾天拍树林、逆光才压暗角、鹅卵石也能打「聚光灯」——后期一切都要符合前期的印象，不要失真。","xe":"1. Light must be self-consistent: side-lit ground rules out a moon hanging behind the viewer, foregrounds the sun has not reached should not be sculpted, and only peaks that actually catch light deserve emphasis; 2. Never drop a telephoto-sized moon into a wide-angle frame, and stop chasing detail everywhere — strengthening the land while quieting the sky and moon usually works better; 3. Everyone dodges and burns; the difference is hierarchy and finesse — the brightest values go to lit clouds and water, trees next, rocks barely touched, with luminosity masks lifting only the highlights and no hard brushes; 4. Keep colour unified (mono or analogous), shoot forests in fog, vignette only backlit scenes, and even pebbles can take a \"spotlight\" — every move in post must match the impression from the field without distorting it."},{"t":"h","x":"高清视频：","xe":"HD video:"},{"t":"p","x":"https://www.bilibili.com/video/BV16q4y147pK/","b":false,"xe":"https://www.bilibili.com/video/BV16q4y147pK/"},{"t":"h","x":"部分获奖作品","xe":"Some Award-Winning Works"},{"t":"img","f":"img-02","w":1000,"h":1200},{"t":"img","f":"img-03","w":1000,"h":1200},{"t":"img","f":"img-04","w":1000,"h":1200},{"t":"img","f":"img-05","w":1000,"h":1200},{"t":"img","f":"img-06","w":1000,"h":1200},{"t":"img","f":"img-07","w":1000,"h":1200},{"t":"img","f":"img-08","w":1000,"h":1200},{"t":"img","f":"img-09","w":1000,"h":1200},{"t":"img","f":"img-10","w":1000,"h":1200},{"t":"img","f":"img-11","w":1000,"h":1200},{"t":"img","f":"img-12","w":1000,"h":1200},{"t":"img","f":"img-13","w":1000,"h":1200},{"t":"img","f":"img-14","w":1000,"h":1200},{"t":"img","f":"img-15","w":1000,"h":1200},{"t":"img","f":"img-16","w":1000,"h":1200},{"t":"img","f":"img-17","w":1000,"h":1200},{"t":"img","f":"img-18","w":1000,"h":1200},{"t":"img","f":"img-19","w":1000,"h":1200},{"t":"img","f":"img-20","w":1000,"h":1200},{"t":"img","f":"img-21","w":1000,"h":1200},{"t":"img","f":"img-22","w":1000,"h":1200},{"t":"img","f":"img-23","w":1000,"h":1200},{"t":"img","f":"img-24","w":1000,"h":1200},{"t":"img","f":"img-25","w":1000,"h":1200},{"t":"img","f":"img-26","w":1000,"h":1200},{"t":"img","f":"img-27","w":1000,"h":1200},{"t":"img","f":"img-28","w":1000,"h":1200},{"t":"img","f":"img-29","w":1000,"h":1200},{"t":"img","f":"img-30","w":1000,"h":1200},{"t":"img","f":"img-31","w":1000,"h":1200},{"t":"img","f":"img-32","w":1000,"h":1200},{"t":"img","f":"img-33","w":1000,"h":1200},{"t":"img","f":"img-34","w":1000,"h":1200},{"t":"img","f":"img-35","w":1000,"h":1200},{"t":"img","f":"img-36","w":1000,"h":1200},{"t":"img","f":"img-37","w":1000,"h":1200},{"t":"img","f":"img-38","w":1000,"h":1200},{"t":"img","f":"img-39","w":1000,"h":1200},{"t":"img","f":"img-40","w":1000,"h":1200},{"t":"img","f":"img-41","w":1000,"h":1200},{"t":"img","f":"img-42","w":1000,"h":1200},{"t":"img","f":"img-43","w":1000,"h":1200},{"t":"img","f":"img-44","w":1000,"h":1200},{"t":"img","f":"img-45","w":1000,"h":1200},{"t":"img","f":"img-46","w":1000,"h":1200},{"t":"img","f":"img-47","w":1000,"h":1200},{"t":"img","f":"img-48","w":1000,"h":1200},{"t":"img","f":"img-49","w":1000,"h":1200},{"t":"img","f":"img-50","w":1000,"h":1200},{"t":"img","f":"img-51","w":1000,"h":1200},{"t":"img","f":"img-52","w":1000,"h":1200},{"t":"img","f":"img-53","w":1000,"h":1200},{"t":"img","f":"img-54","w":1000,"h":1200},{"t":"img","f":"img-55","w":1000,"h":1200},{"t":"img","f":"img-56","w":1000,"h":1200},{"t":"img","f":"img-57","w":1000,"h":1200},{"t":"img","f":"img-58","w":1000,"h":1200},{"t":"img","f":"img-59","w":1000,"h":1200},{"t":"img","f":"img-60","w":1000,"h":1200},{"t":"img","f":"img-61","w":1000,"h":1200},{"t":"img","f":"img-62","w":1000,"h":1200},{"t":"img","f":"img-63","w":1000,"h":1200},{"t":"img","f":"img-64","w":1000,"h":1200},{"t":"img","f":"img-65","w":1000,"h":1200},{"t":"img","f":"img-66","w":1000,"h":1200},{"t":"img","f":"img-67","w":1000,"h":1200},{"t":"img","f":"img-68","w":1000,"h":1200},{"t":"img","f":"img-69","w":1000,"h":1200},{"t":"img","f":"img-70","w":1000,"h":1200},{"t":"img","f":"img-71","w":1000,"h":1200},{"t":"h","x":"不知道大家对于入围和获奖作品，有什么看法吗？","xe":"Do you have any thoughts on the finalists and award-winning works?"},{"t":"h","x":"欢迎在评论区进行讨论~","xe":"Feel free to discuss in the comments section~"}],"titleEn":"Grand Prize Landscape Works Became Negative Examples! Have You Made These Post-Processing Mistakes?"}