{"slug":"landscape-portrait-post","title":"风光人像进阶后期攻略","author":"Thomas看看世界","date":"2017-04-18","wechat":"https://mp.weixin.qq.com/s?__biz=MzI4NDA5MzE5NQ==&mid=2247485386&idx=1&sn=68c78472b4e101a34f268f8940708f70&chksm=eb81f9aedcf670b8ba9506737cf9ff7779ea8baaba304ebdc08cdde2c18216e7352024b09575&scene=21#wechat_redirect","blocks":[{"t":"p","x":"本文作者Terry F，是一名非常厉害的人像和观念摄影师。今天他带来了《如何在旅行中拍出与众不同的人像 - 拍摄攻略》，一文的后期部分，详细讲解了他对这张照片的后期处理过程。","b":false,"xe":"The author of this article is Terry F, a brilliant portrait and conceptual photographer. Today he brings us the post-processing installment of \"How to Shoot Distinctive Portraits While Traveling — Shooting Strategy\", detailing his editing process for this photo."},{"t":"img","f":"img-02","w":500,"h":281},{"t":"p","x":"风光人像在拍摄上相对其他题材来说，具有一定难度，但是对于比较用心的摄影师来说，并不会存在太大压力。在之前一篇教程中，笔者简要介绍了拍摄风光人像以及慢门人像所需要做的准备工作和拍摄过程。当完成拍摄，旅行结束回到家中以后，我们就需要考虑如何将拍摄的照片进行下一步的加工了。","b":false,"xe":"Landscape portraiture is somewhat harder to shoot than other genres, but for a careful photographer it poses no great pressure. In the previous tutorial I briefly covered the preparation and shooting process for landscape portraits and long-exposure portraits. Once the shoot is done and you're home from the trip, it's time to think about how to process the photos."},{"t":"p","x":"本篇教程将详细讲解风光人像中比较麻烦的慢门人像的后期思路和方法。简而言之，就是讲解一张（或多张）对环境进行长曝光的照片与另外一张（或多张）对人物进行曝光的照片相融合的方法。","b":false,"xe":"This tutorial explains in detail the post-processing approach and method for the trickiest kind of landscape portrait — the long-exposure portrait. In short: how to blend one (or more) long-exposure frames of the environment with another one (or more) frames exposed for the person."},{"t":"p","x":"有许多人都问过，为什么不能直接对人物进行长曝呢？一般来说，让人物在睡姿或者坐姿保持几秒不动并不困难。但是如果有风吹动了头发，那么片子也就毁了，所以最保险的方式还是人物和环境分开拍，后期合成。合成的方式很简单，相信大家看了接下来的教程就会明白。但是前期拍摄的时候一定要用稳固的三脚架，这样可以免除后期对齐画面的苦恼。","b":false,"xe":"Many people have asked: why not just long-expose the person directly? Generally, keeping a person still in a sleeping or sitting pose for a few seconds isn't hard. But if wind moves their hair, the shot is ruined. So the safest approach is to shoot the person and the environment separately and composite them in post. The compositing is simple — you'll see in the tutorial below. But be sure to use a sturdy tripod when shooting, so you avoid the pain of aligning frames in post."},{"t":"p","x":"相信看过笔者之前的后期教程的朋友们应该记得那些教程中反复强调的三点：","b":false,"xe":"Friends who have read my previous editing tutorials should remember the three points those tutorials emphasized again and again:"},{"t":"h","x":"·对一张照片需要有个目标,也就是说,要清楚自己想要的效果。","xe":"·Have a goal for the photo — know the effect you want."},{"t":"h","x":"·对达到这种效果需要有一个明确的思路,要知道自己每一步到底在做什么。","xe":"·Have a clear plan for reaching that effect — know what each step is doing."},{"t":"h","x":"·解决技术上的问题。","xe":"·Solve the technical problems."},{"t":"h","x":"1","xe":"1"},{"t":"h","x":"基本合成","xe":"Basic Compositing"},{"t":"p","x":"在明确了以上三点之后，我们就可以进入修图的过程了。这里要进行讲解的是最基本的两张照片合成以及后期的方法。","b":false,"xe":"With those three points clear, we can begin editing. What follows covers the most basic two-photo composite and its post-processing."},{"t":"p","x":"照片1 （光圈：f10 快门：1/20 ISO：100）","b":false,"xe":"Photo 1 (aperture: f/10, shutter: 1/20s, ISO: 100)"},{"t":"img","f":"img-03","w":500,"h":315},{"t":"p","x":"照片2 （光圈：f10 快门75秒 ISO：100，使用ND1000滤镜）","b":false,"xe":"Photo 2 (aperture: f/10, shutter: 75s, ISO: 100, with an ND1000 filter)"},{"t":"img","f":"img-04","w":500,"h":315},{"t":"p","x":"接下来第一步是将两张图片都放入PS。将环境图作为背景，在人物图上建立蒙版。","b":false,"xe":"The first step is placing both images in Photoshop. Use the environment frame as the background and create a mask on the portrait layer."},{"t":"p","x":"图4","b":false,"xe":"Figure 4"},{"t":"img","f":"img-05","w":500,"h":342},{"t":"p","x":"（蒙版的概念简单介绍一下：白色代表本图层可见区域，蒙版上的黑色代表本图层不可见区域。如果你要将图层内容擦掉的话，只需要用黑色画笔在白色蒙版上擦除就可以了。这比橡皮擦工具好的一点是，可以随时再用白色画笔修正擦除了的内容。）","b":false,"xe":"(A quick intro to masks: white marks the visible area of the layer, black the invisible. To erase part of a layer, simply paint with a black brush on the white mask. The advantage over the Eraser tool is that you can always paint white back in to restore what you erased.)"},{"t":"p","x":"这里因为人物所占的面积比较小，所以选中蒙版，用Ctrl+i 翻转蒙版，然后用白色画笔将人物大致擦出来。（当然你也可以直接摁住ALT+点击建立黑色蒙版）","b":false,"xe":"Since the person occupies a small area here, select the mask, invert it with Ctrl+I, then paint with a white brush to roughly reveal the person. (You can also hold Alt and click to create a black mask directly.)"},{"t":"p","x":"图5","b":false,"xe":"Figure 5"},{"t":"img","f":"img-06","w":500,"h":296},{"t":"p","x":"擦蒙版的时候，将人物下方的石头区域也一起擦出来一些，这样人物的阴影就自然地投在石头上了。而因为两张曝光程度几乎一样，所以石头部分可以很自然地融合到一起。","b":false,"xe":"While painting the mask, also reveal some of the rock area below the person, so the person's shadow falls naturally on the rock. And since the two exposures are nearly identical, the rock areas blend together naturally."},{"t":"p","x":"图6","b":false,"xe":"Figure 6"},{"t":"img","f":"img-07","w":500,"h":290},{"t":"p","x":"但是人物上面的区域，不同曝光时间的水的融合并不完美，这时候我们需要使用较小的黑色笔刷，将这一部分的蒙版沿着人物边缘擦除。","b":false,"xe":"But above the person, the water from the two different exposure times doesn't blend perfectly. Here we need a smaller black brush to erase this part of the mask along the person's edges."},{"t":"p","x":"图7 衔接的问题","b":false,"xe":"Figure 7: the blending problem"},{"t":"img","f":"img-08","w":500,"h":304},{"t":"p","x":"图8 仔细用黑色画笔擦掉人物上面的海水","b":false,"xe":"Figure 8: carefully paint out the seawater above the person with a black brush"},{"t":"img","f":"img-09","w":500,"h":349},{"t":"p","x":"图9 合成完成图","b":false,"xe":"Figure 9: the finished composite"},{"t":"img","f":"img-10","w":500,"h":301},{"t":"p","x":"合成完成以后，如果你觉得合成效果不好，比如说色温，曝光有差别的话，可以根据情况用曲线或者色相工具来对其中一幅画面进行调整，让二者融合的更好。","b":false,"xe":"After compositing, if you're unhappy with the blend — say the white balance or exposure differs between the frames — you can use Curves or Hue/Saturation to adjust one of the images so the two merge better."},{"t":"p","x":"图10","b":false,"xe":"Figure 10"},{"t":"img","f":"img-11","w":500,"h":378},{"t":"p","x":"这里就用曲线进行微调。并且摁住ALT+鼠标左键点击下面的图层，以此来指定曲线图层效果仅影响下一图层。","b":false,"xe":"Here I fine-tune with Curves, and Alt+left-click the layer below so the Curves layer only affects the layer directly beneath it."},{"t":"p","x":"图11","b":false,"xe":"Figure 11"},{"t":"img","f":"img-12","w":500,"h":366},{"t":"h","x":"2","xe":"2"},{"t":"h","x":"调色定调","xe":"Color Grading and Tonal Direction"},{"t":"p","x":"合成完成以后，就需要准备给图片调色了。正式调色之前，我们先来分析一下该如何动手。","b":false,"xe":"Once the composite is done, it's time to grade the image. Before formally grading, let's analyze how to approach it."},{"t":"p","x":"·整张图片用了中心构图，后期的时候需要将观众的视线聚拢到中间。突出人物，弱化周围的环境影响力。","b":false,"xe":"·The image uses center composition, so in post I need to draw the viewer's eye toward the middle — emphasize the person and weaken the surrounding environment's influence."},{"t":"p","x":"·浪花不够大，所以水的慢门效果不够明显，后期需要强化水面效果。","b":false,"xe":"·The waves weren't big, so the long-exposure water effect isn't obvious enough — the water surface needs strengthening in post."},{"t":"p","x":"·照片氛围比较压抑，主题也比较安静和沉重，所以后期主要使用冷色调。","b":false,"xe":"·The photo's mood is somber and the theme quiet and heavy, so the grade will mainly use cool tones."},{"t":"p","x":"图12","b":false,"xe":"Figure 12"},{"t":"img","f":"img-13","w":500,"h":304},{"t":"p","x":"首先用曲线将图片的地面部分整体压暗。用蒙版擦掉人物的部分，保持其亮度。这样做的目的是提高让天空和地面的明暗反差，让整个画面的重心放到低处来。而保持人物亮度的目的是让人物更突出。","b":false,"xe":"First, use Curves to darken the ground portion of the image overall, and mask out the person to keep their brightness. This raises the light-dark contrast between sky and ground, shifting the visual weight downward. Keeping the person bright makes them stand out more."},{"t":"p","x":"图13","b":false,"xe":"Figure 13"},{"t":"img","f":"img-14","w":500,"h":286},{"t":"p","x":"然后再来加强水面效果，点击“选择---色彩范围”摁住SHIFT用吸管多次点击水面的部分，选中水面，点确定。","b":false,"xe":"Next, strengthen the water effect: click Select - Color Range, hold Shift, and click the water multiple times with the eyedropper to select it, then confirm."},{"t":"p","x":"图14","b":false,"xe":"Figure 14"},{"t":"img","f":"img-15","w":500,"h":372},{"t":"p","x":"图15","b":false,"xe":"Figure 15"},{"t":"img","f":"img-16","w":500,"h":334},{"t":"p","x":"随后建立色阶图层，提亮刚刚的选区。但是此时可以看到，提亮的部分比较生硬，而且很多不需要加亮的部分（比如天空）也变亮了，这是因为刚刚的色彩范围工具选中了很多我们不需要的东西。","b":false,"xe":"Then create a Levels layer to brighten the selection. But as you can see, the brightening is harsh, and many areas that shouldn't be brightened (like the sky) got brighter too — because the Color Range tool selected many things we don't need."},{"t":"p","x":"图16","b":false,"xe":"Figure 16"},{"t":"img","f":"img-17","w":500,"h":332},{"t":"p","x":"因此需要用画笔对蒙版进行进一步的加工，擦掉不需要的部分。","b":false,"xe":"So the mask needs further work with a brush to remove the unwanted parts."},{"t":"p","x":"图17，18","b":false,"xe":"Figures 17, 18"},{"t":"img","f":"img-18","w":500,"h":313},{"t":"img","f":"img-19","w":500,"h":301},{"t":"p","x":"随后将要对环境进行整体的染色，一来强化整体氛围，二来让画面冷色调更明显。这里使用LUT进行染色。选择颜色查找，选中LUT中的Nightfromday（相关LUT文件可以在网上下载，如果不习惯用LUT的话，可以用相片滤镜进行染色）。染色完成之后，整个画面都变得很蓝很紫。","b":false,"xe":"Next, tint the environment as a whole — first to strengthen the overall mood, second to make the cool tones more pronounced. Here I use a LUT: choose Color Lookup and select NightFromDay (LUT files can be downloaded online; if you're not used to LUTs, you can tint with a Photo Filter instead). After tinting, the whole frame turns very blue and purple."},{"t":"p","x":"图19","b":false,"xe":"Figure 19"},{"t":"img","f":"img-20","w":500,"h":277},{"t":"p","x":"图20","b":false,"xe":"Figure 20"},{"t":"img","f":"img-21","w":500,"h":332},{"t":"p","x":"然后使用雪人插件（类似的明度蒙版插件都可以）用暗部蒙版来修正该LUT的影响范围。","b":false,"xe":"Then use the Xueren plugin (any similar luminosity-mask plugin works) with a dark-tones mask to limit where the LUT applies."},{"t":"p","x":"图21","b":false,"xe":"Figure 21"},{"t":"img","f":"img-22","w":500,"h":292},{"t":"p","x":"但是蒙版并不完美，有一些需要消除的颜色并没有被LUT覆盖，所以要用画笔对蒙版进行进一步的加工。","b":false,"xe":"But the mask isn't perfect — some colors that should be removed aren't covered by the LUT — so refine the mask further with a brush."},{"t":"p","x":"图22","b":false,"xe":"Figure 22"},{"t":"img","f":"img-23","w":500,"h":295},{"t":"p","x":"这样处理之后，图片的颜色就稍微理想了一些，但是整体发蓝的感觉还是太强烈。那么接下来我们就需要局部中和蓝色。","b":false,"xe":"After this step, the colors are somewhat more ideal, but the overall blue cast is still too strong. Next we need to locally neutralize the blue."},{"t":"p","x":"图23","b":false,"xe":"Figure 23"},{"t":"img","f":"img-24","w":500,"h":304},{"t":"p","x":"中和蓝色的方法是加黄，这里可以使用可选颜色，在黑色里加黄。顺便减少红色（主要是皮肤区域）里的黑色，等于起到提亮肤色的作用。","b":false,"xe":"The way to neutralize blue is adding yellow — here we can use Selective Color to add yellow in the blacks. Incidentally, reduce black in the reds (mainly the skin areas), which effectively brightens the skin tone."},{"t":"p","x":"图24","b":false,"xe":"Figure 24"},{"t":"img","f":"img-25","w":500,"h":313},{"t":"p","x":"图25","b":false,"xe":"Figure 25"},{"t":"img","f":"img-26","w":500,"h":301},{"t":"p","x":"随后，在用曲线工具，提亮暗部压暗中间部分。这样做，让最暗的地方变亮，但是整体曝光降低，营造出“灰调”的感觉，增加视觉上的宽容度。","b":false,"xe":"Then, use Curves to brighten the shadows and darken the midtones. This lifts the darkest areas while lowering overall exposure, creating a \"gray tone\" feel that increases the perceived latitude."},{"t":"p","x":"图26","b":false,"xe":"Figure 26"},{"t":"img","f":"img-27","w":500,"h":298},{"t":"p","x":"但是这样拉曲线，会损失很多细节，所以我们需要双击这一图层，调出图层样式。在“本图层”摁住ALT拉动下面的小箭头，恢复一部分暗部细节。","b":false,"xe":"But this curve sacrifices a lot of detail, so double-click the layer to open Layer Style. Under \"This Layer\", hold Alt and drag the small arrow below to recover some shadow detail."},{"t":"p","x":"图27","b":false,"xe":"Figure 27"},{"t":"img","f":"img-28","w":500,"h":298},{"t":"p","x":"再然后，我们可以来营造一点柔光效果。其实柔光效果很简单，我知道的大概有五六种做法。这里介绍一种比较方便的做法。首先。我们需要用SHIFT+CTRL+ALT+E建立一个包含之前所有图层的图层。然后用SHIFT+CTRL+U将其转换为黑白。这样，柔光的就不会影响原图的颜色。","b":false,"xe":"Next, we can create a soft-glow effect. Soft glow is actually simple — I know of five or six ways. Here's a convenient one. First, press Shift+Ctrl+Alt+E to stamp a layer containing everything below. Then press Shift+Ctrl+U to desaturate it to black-and-white, so the glow won't affect the original colors."},{"t":"p","x":"图28","b":false,"xe":"Figure 28"},{"t":"img","f":"img-29","w":500,"h":299},{"t":"p","x":"调整该图层的色阶，增加对比，让亮部更亮，暗部更暗。这样的话，做柔光效果的时候对暗部的影响就很小。","b":false,"xe":"Adjust this layer's Levels to add contrast — brighter brights, darker darks — so the glow barely affects the dark areas."},{"t":"p","x":"图29","b":false,"xe":"Figure 29"},{"t":"img","f":"img-30","w":500,"h":297},{"t":"p","x":"接下来是高斯模糊，一般10左右就可以了。","b":false,"xe":"Next, apply Gaussian Blur — around 10 is generally fine."},{"t":"p","x":"图30","b":false,"xe":"Figure 30"},{"t":"img","f":"img-31","w":500,"h":306},{"t":"p","x":"然后将图层复制一次，其中一个图层将叠加模式改为柔光，另一个改为滤色，然后调整两者的不透明度。柔光图层的作用是在柔光的时候加对比，而滤色则是过滤掉黑色部分，这里可以在柔光的同时提亮整个画面，抵消一部分柔光图层对画面的压暗效果。","b":false,"xe":"Then duplicate the layer: set one copy's blend mode to Soft Light and the other to Screen, and adjust both opacities. The Soft Light layer adds contrast while glowing; Screen filters out the black parts, brightening the whole frame during the glow and offsetting part of the darkening from the Soft Light layer."},{"t":"p","x":"图31","b":false,"xe":"Figure 31"},{"t":"img","f":"img-32","w":500,"h":313},{"t":"p","x":"完成这一步以后，整体效果的调整就可以结束了，接下来要进行的是局部精修。让画面更加完美。","b":false,"xe":"After this step, the global-effect adjustments are done. Next comes local refinement to perfect the image."},{"t":"h","x":"3","xe":"3"},{"t":"h","x":"画面精修","xe":"Image Refinement"},{"t":"p","x":"首先，我们需要加强天空的层次感，这里可以用矩形选区工具选出天空，如果地平线比较复杂的话，建议用套索来手动选取天空。","b":false,"xe":"First, strengthen the sky's layering. Use the rectangular marquee to select the sky — if the horizon is complex, use the lasso to select the sky manually."},{"t":"p","x":"图32","b":false,"xe":"Figure 32"},{"t":"img","f":"img-33","w":500,"h":315},{"t":"p","x":"选好以后，建立色阶图层，压暗天空，并且增加对比，让天空的层次更鲜明。然后调整透明度来进行修正。","b":false,"xe":"With the selection made, create a Levels layer to darken the sky and increase contrast, making its layering more distinct. Then adjust the opacity to fine-tune."},{"t":"p","x":"图33","b":false,"xe":"Figure 33"},{"t":"img","f":"img-34","w":500,"h":330},{"t":"p","x":"随后，用黑色画笔在蒙版上擦掉地面部分。","b":false,"xe":"Then use a black brush on the mask to remove the ground portion."},{"t":"p","x":"图34","b":false,"xe":"Figure 34"},{"t":"img","f":"img-35","w":500,"h":328},{"t":"p","x":"此时发现，天空的暗部似乎颜色太鲜艳，当观众看这张图的时候，眼球容易被吸引到云上面去，所以再次使用色彩范围工具选中云层的暗部，建立饱和度图层，降低该范围的饱和度。","b":false,"xe":"Now I notice the dark parts of the sky look too saturated — viewers' eyes get drawn to the clouds. So use Color Range again to select the dark parts of the clouds, create a Saturation layer, and reduce that range's saturation."},{"t":"p","x":"图35","b":false,"xe":"Figure 35"},{"t":"img","f":"img-36","w":500,"h":324},{"t":"p","x":"图36","b":false,"xe":"Figure 36"},{"t":"img","f":"img-37","w":500,"h":340},{"t":"p","x":"整张图片的整体构成是由“水”“天”“石”“人”这几个要素构成，画面左边的树给整个图片增加了不必要的元素，因此，我们可以先建立一个整合的图层，然后用图章将其消除，顺便连沙滩也一起消除了。","b":false,"xe":"The image is composed of \"water\", \"sky\", \"rock\", and \"person\". The tree on the left adds an unnecessary element, so we can stamp a merged layer and remove it with the clone stamp — and remove the beach along the way."},{"t":"p","x":"图37","b":false,"xe":"Figure 37"},{"t":"img","f":"img-38","w":500,"h":310},{"t":"p","x":"在完成这一步之后，不妨重新审视一下画面（实际上这也是笔者在完成每一张照片之后必做的一件事）。这个重审的过程建议在完成画面之后过半小时乃至第二天再来进行，这样你对画面会有一个新的认识。","b":false,"xe":"After this step, it's worth reviewing the image with fresh eyes (something I actually do after every photo). Ideally, do this review half an hour later — or even the next day — so you see the image anew."},{"t":"p","x":"那么在重审的过程中，笔者发现图片还有以下几个问题。","b":false,"xe":"In this review, I found the following problems with the image:"},{"t":"p","x":"首先画面中，云，水和人物的方向都偏右，导致整个画面的趋势由原本计划的向中间聚拢变成了向右边移动。","b":false,"xe":"First, the clouds, water, and person all lean right, shifting the frame's momentum from the planned convergence toward the center into a drift toward the right."},{"t":"p","x":"其次，画面整体太暗，明暗趋势还不够明显。","b":false,"xe":"Second, the image is too dark overall; the light-dark structure isn't clear enough yet."},{"t":"p","x":"最后，人物还需要做一些矫正。画面还需要做整体裁剪和锐化。","b":false,"xe":"Finally, the person needs some correction, and the image still needs an overall crop and sharpening."},{"t":"p","x":"图 38","b":false,"xe":"Figure 38"},{"t":"img","f":"img-39","w":500,"h":335},{"t":"p","x":"从光影上强调中心位置的方法，既可以是压暗四周，也可以是提亮中心。因为前面提到了，图片整体偏暗，所以我们就采取提亮中心的方法。","b":false,"xe":"To emphasize the center through light and shadow, you can either darken the edges or brighten the center. As mentioned, the image is dark overall, so we'll brighten the center."},{"t":"p","x":"那么先整体建立一个整合图层，叠加模式改为滤色。这样可以整体提亮画面。然后在黑色蒙版上用白色把中心区域擦出来，这里还顺便擦了一下云的暗部，让天空对比度不那么过于刺眼。","b":false,"xe":"First stamp a merged layer and set its blend mode to Screen, brightening the whole image. Then on a black mask, paint white to reveal the center area — I also brushed a bit over the clouds' dark parts so the sky's contrast isn't too harsh."},{"t":"p","x":"图39","b":false,"xe":"Figure 39"},{"t":"img","f":"img-40","w":500,"h":301},{"t":"p","x":"然后，既然人物整体被提亮了，那么我们不妨用黑色的笔刷擦掉人物身上不需要提亮的位置，来手动增强主体的光影效果。","b":false,"xe":"Then, since the person was brightened along with everything else, use a black brush to remove the brightening where the person doesn't need it — manually enhancing the subject's light-shadow structure."},{"t":"p","x":"图 40","b":false,"xe":"Figure 40"},{"t":"img","f":"img-41","w":500,"h":312},{"t":"p","x":"随后在用色阶配合蒙版来加强中心区域的对比。","b":false,"xe":"Next, use Levels with a mask to strengthen contrast in the center area."},{"t":"p","x":"图41","b":false,"xe":"Figure 41"},{"t":"img","f":"img-42","w":500,"h":313},{"t":"p","x":"随后，对人物肤色进行调整，首先用魔棒工具快速选出皮肤区域，用调整边缘按钮对选区进行轻微羽化即可。","b":false,"xe":"Then adjust the person's skin tone: first use the Magic Wand to quickly select the skin areas, and lightly feather the selection with the Refine Edge button."},{"t":"p","x":"图42","b":false,"xe":"Figure 42"},{"t":"img","f":"img-43","w":500,"h":298},{"t":"p","x":"因为图片皮肤颜色偏青，偏洋红，那么随后再用曲线略微提高红色，绿色，降低蓝色。然后调整不透明度让肤色恢复正常。因为整体环境偏冷，所以也不宜把肤色调整地太暖太黄。","b":false,"xe":"Because the skin leans cyan and magenta, use Curves to slightly raise red and green and lower blue. Then adjust opacity to bring the skin back to normal. Since the overall environment is cool, the skin shouldn't be pushed too warm or yellow either."},{"t":"p","x":"图43","b":false,"xe":"Figure 43"},{"t":"img","f":"img-44","w":500,"h":310},{"t":"p","x":"然后在继续使用多个曲线图层对不同部位的皮肤进行微调。（具体的皮肤调整方法请期待之后将会发布的肤色教程）","b":false,"xe":"Then continue with several more Curves layers to fine-tune different parts of the skin. (For detailed skin-tone methods, look forward to the skin-tone tutorial to be published later.)"},{"t":"p","x":"图44","b":false,"xe":"Figure 44"},{"t":"img","f":"img-45","w":500,"h":314},{"t":"p","x":"在确定整张片子基本完成以后，就可以利用高反差来进行全图的锐化了。","b":false,"xe":"Once the image is essentially complete, use High Pass to sharpen the whole frame."},{"t":"p","x":"还是建立一个整合图层，然后转换为黑白，点滤镜-其他-高反差保留。","b":false,"xe":"Again, stamp a merged layer, convert it to black-and-white, and go to Filter - Other - High Pass."},{"t":"p","x":"图 45","b":false,"xe":"Figure 45"},{"t":"img","f":"img-46","w":500,"h":315},{"t":"p","x":"高反差半径选择一个较低的数值，这里就用了2.6","b":false,"xe":"Choose a low High Pass radius — here I used 2.6."},{"t":"p","x":"图46","b":false,"xe":"Figure 46"},{"t":"img","f":"img-47","w":500,"h":316},{"t":"p","x":"随后，将这个图层叠加模式改为柔光，再复制两层，然后给每个锐化图层都加上蒙版。此时，因为加入了三个锐化图层，所以整张图显出了过度锐化的情况。但是这样的操作，是为了给图片不同区域做不同程度的锐化。","b":false,"xe":"Then set this layer's blend mode to Soft Light, duplicate it twice more, and give each sharpening layer a mask. With three sharpening layers the whole image now looks over-sharpened — but this setup exists to sharpen different areas by different amounts."},{"t":"p","x":"图 47","b":false,"xe":"Figure 47"},{"t":"img","f":"img-48","w":500,"h":319},{"t":"p","x":"接下来，就用笔刷给图片进行局部不同程度的锐化，第一个层给地面进行一遍整体锐化，第二个层给主体区域进行锐化，第三个层，给人物的细节进行锐化。这样可以在锐化同时尽可能减小对之前做的柔光的影响，而且对图片层次也有提升。","b":false,"xe":"Next, use brushes to sharpen local areas to different degrees: the first layer sharpens the ground overall, the second sharpens the subject area, and the third sharpens the person's details. This way you sharpen while minimizing damage to the earlier soft glow, and it also improves the image's layering."},{"t":"p","x":"图 48","b":false,"xe":"Figure 48"},{"t":"img","f":"img-49","w":500,"h":317},{"t":"p","x":"当完成了所有的步骤之后，我们就可以来对图片进行裁剪了。裁剪的时候，把人物放在中间，增强人物的核心地位。这里用16:9的比例裁剪掉大部分天空，这样可以削弱天空的方向性。而且使用16:9的很大的好处是，给画面增加横向延伸感，而且方便做电脑壁纸。但是切记，这个步骤一定要最后来做，最好是先将图片保存为JPG和PSD，然后将保存好的JPG拿来单独裁剪，这样一旦后悔或者改变主意了，原来的尺寸也得以保留。","b":false,"xe":"Once all steps are complete, we can crop the image. Place the person in the center to reinforce their central role. Here I crop out most of the sky at 16:9, which weakens the sky's directionality. A big benefit of 16:9 is the sense of horizontal extension — and it makes a convenient desktop wallpaper. But remember: do this step last. Ideally save the image as JPG and PSD first, then crop the saved JPG separately — that way, if you regret it or change your mind, the original dimensions are preserved."},{"t":"p","x":"图49","b":false,"xe":"Figure 49"},{"t":"img","f":"img-50","w":500,"h":272},{"t":"p","x":"完成图：","b":false,"xe":"The finished image:"},{"t":"img","f":"img-51","w":500,"h":281},{"t":"p","x":"结语：","b":false,"xe":"Conclusion:"},{"t":"p","x":"一张图片的创作，是从前期到后期的一个完整过程。在前期拍照的时候最好就考虑好后期需要什么效果，后期可以进行什么样的加工。后期是在合格的原片基础上进行加工乃至创作的方式。因此，拍摄的过程和后期的过程同样重要。","b":false,"xe":"Creating an image is a complete process from field to post. When shooting, it's best to already consider what effect you want in post and what processing can be done. Post-processing is a way of working — even creating — on the basis of a qualified original. Therefore, shooting and editing are equally important."},{"t":"p","x":"现在很多人过多的注重后期，反而不能出好片子，因为从前期到后期这一个连贯的流程里如果出现了短板，那么最终的效果也很难如意。","b":false,"xe":"Many people nowadays overemphasize post and still can't produce good work — because if any link in the continuous chain from field to post is weak, the final result will hardly satisfy."},{"t":"p","x":"顺便再来聊一些我对后期的看法。","b":false,"xe":"By the way, let me share a bit more of my thinking on post-processing."},{"t":"p","x":"很多人觉得后期不重要，又有人觉得后期就是素材的堆砌。这都是很错误的看法。","b":false,"xe":"Some people feel post doesn't matter; others think post is just piling up assets. Both views are quite wrong."},{"t":"p","x":"从创作的角度来说，后期也是摄影创作的一个部分，但是从摄影的角度来看，堆砌素材更接近的是设计，而不是摄影。如何去把握你摄影的方向，还是要看你今后的需求。","b":false,"xe":"From a creative standpoint, post is part of photographic creation; but from a photographic standpoint, stacking assets is closer to design than photography. How to steer your photographic direction depends on your future needs."},{"t":"p","x":"现在绝大多数的摄影比赛都是不允许换天换地堆素材的，但是大部分摄影比赛都会专门设立一个允许使用后期特技的分类来评比。所以，接受后期是一个大趋势，而尊重摄影本身也是个基本原则。","b":false,"xe":"Nowadays the vast majority of photography competitions don't allow swapping skies or stacking assets — but most also set up a dedicated category for heavily post-processed work. So accepting post-processing is the general trend, while respecting photography itself remains a basic principle."},{"t":"h","x":"帅哥作者","xe":"The handsome author"},{"t":"img","f":"img-52","w":640,"h":640},{"t":"h","x":"▲ 冯韬（Terry F）","xe":"▲ Feng Tao (Terry F)"},{"t":"p","x":"美国Getty Image 签约摄影师","b":false,"xe":"Getty Images contributing photographer"},{"t":"p","x":"华盖创意签约摄影师","b":false,"xe":"Huagai Creative contributing photographer"},{"t":"p","x":"Lofter大神","b":false,"xe":"Lofter master"},{"t":"p","x":"微博：@Terry-F","b":false,"xe":"Weibo: @Terry-F"},{"t":"p","x":"Lofter: terryfengphotography.lofter.com","b":false,"xe":"Lofter: terryfengphotography.lofter.com"},{"t":"p","x":"欢迎关注@Thomas看看世界，","b":false,"xe":"Follow @Thomas Chu Photo,"},{"t":"p","x":"每周学会一个摄影技能。","b":false,"xe":"and learn one photography skill every week."}],"titleEn":"Advanced Post-Processing for Landscape Portraits"}