{"slug":"landscape-photographer-2022","title":"2022年最美风景照片！年度风光摄影师大赛获奖作品赏析~","author":"Thomas看看世界","date":"2022-12-04","wechat":"https://mp.weixin.qq.com/s?__biz=MzI4NDA5MzE5NQ==&mid=2247496583&idx=1&sn=ce75cb6a376b3a3a53d97a1d2def4060&chksm=eb820de3dcf584f5e6402a3b15ee403b5d3a1f16d44f4115b2492b424218c4b8e68f980f5795&scene=21#wechat_redirect","blocks":[{"t":"p","x":"2022年自然风光摄影有什么样的创作趋势？","b":false,"xe":"What creative trends emerged in nature landscape photography in 2022?"},{"t":"p","x":"国内外的摄影师们今年拍到了哪些震撼的景观？","b":false,"xe":"What stunning landscapes did photographers at home and abroad capture this year?"},{"t":"p","x":"今天的作品赏析视频中，Thomas会分享一些2022年度世界风光摄影师大赛的获奖作品。","b":false,"xe":"In today's works-appreciation video, Thomas will share some winning works from the 2022 International Landscape Photographer of the Year."},{"t":"img","f":"img-01","w":1080,"h":724},{"t":"h","x":"视频","xe":"Video"},{"t":"bili","bv":"BV1Ue4y1M7iA","bpic":"bili-1","bt":"2022年最美风景照片！年度风光摄影师大赛获奖作品赏析~"},{"t":"p","x":"这一篇是上面视频的完整图文整理。Thomas 把这期 11 分钟的 2022 年度国际风光摄影师大赛（ILPOTY）获奖作品赏析落成了文字，并配上视频关键帧截图——今年有多位中国摄影师获奖，但重点不在名次，而在从这些优质作品里看出四个创作趋势：以小见大、沙漠的多种拍法、雨雾天的森林，以及月光与航拍带来的新答案。适合先看图建立框架，再回到视频里逐张欣赏。","xe":"This is the fully illustrated companion to the video above. Thomas turned the 11-minute review of the 2022 International Landscape Photographer of the Year (ILPOTY) winners into text and paired it with keyframe screenshots — several Chinese photographers placed this year, but the point is not the rankings so much as the four creative trends these strong images reveal: seeing the large in the small, the many ways to shoot a desert, forests in rain and fog, and the fresh answers offered by moonlight and aerials. Skim it here for the framework, then go back to the video to study each image.","b":false},{"t":"p","x":"先看一张成片。下面这张截自视频 1:14 处，是法国摄影师 Nicolas Raspiengeas 的作品——乍看是一座雪山，其实只拍了冰的一个角落。它正是这期视频第一个趋势「以小见大」的开场例子：取一个非常小的小景，却非常震撼。","xe":"Start with a finished frame. Captured at 1:14 in the video, this image by French photographer Nicolas Raspiengeas looks like a snow mountain at first glance — in fact it is only a corner of ice. It opens the first trend of the episode, seeing the large in the small: a tiny scene, yet genuinely striking.","b":false},{"t":"img","f":"v01","w":480,"h":576},{"t":"h","x":"01 以小见大：从身边小景抓独特的美","xe":"01 The Large in the Small: Finding Beauty in Tiny Scenes"},{"t":"p","x":"Thomas 觉得这次很多获奖作品都是以小见大——从身边非常小的景物里抓到它们独特的美。比如下雪时我们都会去拍树林，Eric Bennett 却独辟蹊径，拍了雪打落的秋叶：白色底和五颜六色的叶子，形成一种独特的美感（视频 1:27 处）。另一张只取了水流一个微小的落差，用后期塑造光影，靠曲线营造美感；秋天街道和森林里积起的厚厚落叶，同样能发现纹理与独特的细节（视频 1:55 处）。","xe":"Thomas sees many of this year's winners as exercises in seeing the large in the small — drawing singular beauty from the tiny things around us. When it snows we all head for the woods, yet Eric Bennett went his own way and photographed autumn leaves knocked down by the snow: a white ground scattered with multicoloured leaves, a beauty all its own (at 1:27 in the video). Another frame takes just a small step in a stream, sculpting its light in post and building the image on curves; the thick carpets of leaves that pile up on autumn streets and forest floors hold textures and details worth discovering too (at 1:55 in the video).","b":false},{"t":"img","f":"v02","w":480,"h":576},{"t":"p","x":"还有用长焦抓拍的浪花细节；Klaus Axelsen 的这张只是抓拍水的慢门——大概 0.2 到 0.5 秒、不算特别长的曝光——记录水的动感，再用奇形怪状的石头互相衬托，非常好看（视频 2:19 处）；以及冰的纹理经过后期光影塑造后的作品。这些小景，给我们非常多的启发。","xe":"There are wave details caught with a telephoto; Klaus Axelsen's frame is simply a slow-shutter study of water — roughly 0.2 to 0.5 seconds, not a very long exposure — recording its motion, set off against strangely shaped rocks, and it looks wonderful (at 2:19 in the video); and ice textures brought out by shaping the light in post. Small scenes like these are a rich source of ideas.","b":false},{"t":"img","f":"v03","w":480,"h":576},{"t":"h","x":"02 沙漠的多种拍法：柔光、逆光、高调与冷暖层次","xe":"02 Many Ways to Shoot a Desert: Soft Light, Backlight, High Key and Warm-Cool Layers"},{"t":"p","x":"第二个趋势是沙漠的多种拍法。有人用刚刚日出前或日出后拂晓时分的间接光线，拍出非常柔和的沙漠（视频 2:52 处）；中国摄影师 Tony Wang 的这张则用日出日落前后一两个小时的逆光，抓拍沙的纹理和阴影（视频 3:05 处）。还有人用较高的角度拍风吹过沙面留下的痕迹，或用非常广的广角抓落日时分沙的光线和纹理；Liu Bai 则用长焦拍沙漠中的植被与周边的纹理细节。","xe":"The second trend is the sheer variety of desert work. One photographer used the indirect light of dawn, just before or after sunrise, for a very soft desert (at 2:52 in the video); Chinese photographer Tony Wang used the backlight of the hour or two around sunrise and sunset to catch the texture and shadows of the sand (at 3:05 in the video). Others shot from a high angle to record the traces the wind leaves on the sand, or used a very wide lens for the light and texture at sunset; Liu Bai turned a telephoto on desert vegetation and the textures around it.","b":false},{"t":"img","f":"v04","w":480,"h":576},{"t":"p","x":"Benjamin Briones Grandi 的这张是非常高调、非常干净、色彩非常统一的处理（视频 3:48 处）。同样是沙漠，有明暗对比的，有冷暖对比的，也有这种高调统一的，拍法真的非常多。他的另一张则从前到后不断由暗变亮、由冷到暖——这是前期配合后期的塑造——最后还有一个月亮作点睛之笔；层次不算强烈，却非常舒服、非常和谐（视频 4:03 处）。","xe":"Benjamin Briones Grandi's frame is high-key, immaculate and unified in colour (at 3:48 in the video). The same desert can be handled with tonal contrast, with warm-cool contrast, or in this clean high-key manner — the approaches are endless. His second image runs from dark to bright and cool to warm as it moves from foreground to distance — a collaboration between capture and post — finished by a moon as the final accent; the layering is gentle, yet supremely comfortable and harmonious (at 4:03 in the video).","b":false},{"t":"img","f":"v05","w":480,"h":576},{"t":"img","f":"v06","w":480,"h":576},{"t":"h","x":"03 森林：雨雾天、仰拍汇聚与中长焦压缩","xe":"03 Forests: Rain and Fog, Upward Convergence, Mid-Telephoto Compression"},{"t":"p","x":"这次有非常多森林类的获奖作品，很值得学习。优秀的摄影师大多选雨天或雾天拍森林——晴天里森林的光线很容易特别杂乱，前后树木分不出层次也显得乱；而雾天自然而然把背景的树木隐去，层次感就出来了（视频 4:41 处）。角度上，很多人从下往上拍，让树枝汇聚到一起，形成线条的汇聚感（视频 5:01 处）。","xe":"Forests were everywhere among this year's winners, and there is much to learn. Most accomplished photographers shoot them in rain or fog — in sunshine the light inside a forest turns chaotic and the trees fail to separate into layers; fog naturally erases the background trees and the depth appears by itself (at 4:41 in the video). For angle, many shoot upward from low down so the branches converge, creating a strong pull of converging lines (at 5:01 in the video).","b":false},{"t":"img","f":"v07","w":480,"h":576},{"t":"p","x":"森林也经常用到中长焦段：它能把远处的一大片树木压缩到一个画面里，密密麻麻排聚在一起，形成错落有致的线条和色块的美感（视频 5:12 处）。Tony Wang 的这张也是类似的思路，不用很广的焦段，而是用中长焦在薄薄的雾中抓拍树木，由前到后的纵深感在有雪的天气下特别好。树也可以只作为简单的前景，尤其是奇形怪状、非常干净的枯枝；Gheorghe Popa 则用航拍拍冬天结冰的湖面，冰的纹理和黑色枯枝形成黑白对比，非常特别（视频 5:58 处）。","xe":"Forests also call for mid-telephoto focal lengths: they compress a broad swathe of distant trees into one frame, packed tightly together into a pleasing rhythm of lines and colour blocks (at 5:12 in the video). Tony Wang's frame follows the same idea — nothing very wide, but a mid-telephoto catching trees through thin fog, with the front-to-back depth working especially well in snow. Trees can also serve as a simple foreground, particularly clean, oddly shaped dead branches; Gheorghe Popa photographed a frozen winter lake from the air, where the ice textures and black branches form a striking black-and-white contrast (at 5:58 in the video).","b":false},{"t":"img","f":"v08","w":480,"h":576},{"t":"img","f":"v09","w":480,"h":576},{"t":"p","x":"Roberto Pavic 的这张用到了冷暖对比：秋天金黄的树叶配合雾气，前期可以利用蓝调时刻，后期再把白平衡往蓝调那边稍稍偏一偏，冷暖对比就让照片非常出彩（视频 6:27 处）。Max Rive 则是用树作前景的高手——这棵树本身就非常特别，只拍这棵树就够了（视频 6:45 处）。","xe":"Roberto Pavic's frame works a warm-cool contrast: golden autumn foliage in fog, shot at the blue hour and with white balance nudged a little toward blue in post, so the interplay of warm and cool makes the picture sing (at 6:27 in the video). Max Rive, meanwhile, is a master of the tree as foreground — this particular tree is so remarkable that photographing it alone is enough (at 6:45 in the video).","b":false},{"t":"img","f":"v10","w":480,"h":576},{"t":"img","f":"v11","w":480,"h":576},{"t":"p","x":"拍森林的核心关键天气还是雨雾天：雾气能把想表现的树木从杂乱的背景里干净地分离出来。日本摄影师 Sho Hoshino 的这张就是利用大雪加雾天拍的树木——在我国东北、北方或者黄山下雪的时候，其实都能找到这样的树林去拍（视频 7:12 处）。传统一些的树林加桥加小溪，则可能要穿水鞋或水裤下到溪里、走到中间才有好视角（视频 7:29 处）。要学习的是他们如何利用雾气和光线，以及后期对树木做精确选区，把前后层次做得非常舒服。","xe":"The decisive weather for forests remains rain and fog: mist cleanly separates the trees you want from the clutter behind them. Japanese photographer Sho Hoshino's frame uses heavy snow and fog — and in China's north-east, across the north, or on Huangshan in snow, forests like this are there to be found (at 7:12 in the video). A more traditional forest-bridge-stream scene may require wading boots or waders to get into the water and out to the middle for the best angle (at 7:29 in the video). What to study is how these photographers use fog and light, and how precise selections in post make the front-to-back layering feel so natural.","b":false},{"t":"img","f":"v12","w":480,"h":576},{"t":"p","x":"也有一张不是雾天，而是利用太阳刚升起一段时间：前景没有被照亮，只有背景一小部分被太阳照亮。拍树林最怕正午——整个地面都被照亮、各处反光，会显得杂乱（视频 8:16 处）。","xe":"One frame was not shot in fog but shortly after sunrise: the foreground remains unlit while only a sliver of the background catches the sun. The worst time for forests is midday — the entire floor is lit and everything reflects, and the scene turns messy (at 8:16 in the video).","b":false},{"t":"h","x":"04 月光与航拍：光板天的另一种答案","xe":"04 Moonlight and Aerials: Another Answer to Cloudless Skies"},{"t":"p","x":"接下来几张，摄影师利用月光进行拍摄，有的是拂晓配合月亮。月光是非常适合拍摄的光线：冬天经常遇到光板天，日出日落时天空会显得平淡；但同样的场景在月光下拍，有月亮就有星空，天空不再是一块光板，而是有星有月，非常丰富（视频 8:53 处）。William Preite 的这张月光下的雪村就是例子。","xe":"In the next set the photographers work by moonlight, sometimes pairing the moon with dawn twilight. Moonlight suits landscape work remarkably well: winter often brings featureless clear skies that look flat at sunrise and sunset, yet shoot the same scene under the moon and you gain stars as well — the sky is no longer a blank but filled with moon and stars, rich and alive (at 8:53 in the video). William Preite's moonlit snow village is a case in point.","b":false},{"t":"img","f":"v13","w":480,"h":576},{"t":"p","x":"之后还有刚刚日出时分把月亮也取进来的照片；我国大西北的各种盐湖也能拍到类似的经典构图；航拍的盐湖非常出彩，航拍的岩浆非常壮观（视频 9:25 处）。Max Rive 的这张利用河流蜿蜒的曲线作前景、用航拍塑造构图（视频 9:41 处）；还有经典前中后景排布加特殊天气加漂亮前景的相得益彰，传统海景用超广角低角度拍夸张的石头纹理、背后是雾气与满天云的壮观天气，以及最后一张航拍下的壮观场景（视频 9:58 处）。","xe":"Then come a frame that includes the moon just at sunrise; the salt lakes of China's far north-west, where similar classic compositions can be made; an aerial of a salt lake that shines, and an aerial of lava that is simply spectacular (at 9:25 in the video). Max Rive's frame uses the winding curve of a river as foreground and shapes the composition from the air (at 9:41 in the video); there is also a classic foreground-middle-background arrangement made stronger by special weather and a beautiful foreground, a traditional seascape shot ultra-wide and low for exaggerated rock textures beneath mist and a sky full of cloud, and a final dramatic aerial (at 9:58 in the video).","b":false},{"t":"img","f":"v14","w":480,"h":576},{"t":"quote","x":"1. 以小见大：一角冰面、雪上落叶、一处水流落差、0.2-0.5 秒的水与怪石——身边小景也能震撼；2. 沙漠有无数拍法：拂晓柔光、日出日落逆光抓纹理与阴影、高角度拍风痕、长焦拍植被、高调统一色彩，或由暗到亮由冷到暖再点一个月亮；3. 森林的关键是雨雾天——雾隐去背景、分出层次，从下往上拍让树枝汇聚，用中长焦压缩密林，蓝调加偏蓝白平衡做冷暖对比，避开正午；4. 冬天光板天别放弃：月光下有星有月，航拍盐湖、岩浆与河湾曲线也是新的答案。","xe":"1. See the large in the small: a corner of ice, leaves on snow, one small step in a stream, water at 0.2-0.5 s against strange rocks — tiny scenes can still stun; 2. Deserts have endless approaches: soft dawn light, backlight around sunrise and sunset for texture and shadow, high angles for wind traces, telephoto for vegetation, unified high-key colour, or a dark-to-bright, cool-to-warm progression capped by a moon; 3. Forests hinge on rain and fog — mist hides the background and builds layers; shoot upward so branches converge, compress dense woods with a mid-telephoto, pair blue hour with a bluer white balance for warm-cool contrast, and avoid midday; 4. Don't give up on clear winter skies: moonlight brings moon and stars, and aerials of salt lakes, lava and river bends offer new answers."},{"t":"h","x":"高清视频：","xe":"HD video:"},{"t":"p","x":"https://www.bilibili.com/video/BV1Ue4y1M7iA/","b":false,"xe":"https://www.bilibili.com/video/BV1Ue4y1M7iA/"},{"t":"h","x":"照片推荐","xe":"Photo Recommendations"},{"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}],"titleEn":"The Most Beautiful Landscape Photos of 2022! Appreciating the Winning Works of the Landscape Photographer of the Year Contest~"}