{"slug":"landscape-workflow-video","title":"原来还能这么拍！视频还原风光摄影前期流程","author":"Thomas看看世界","date":"2018-09-23","wechat":"https://mp.weixin.qq.com/s?__biz=MzI4NDA5MzE5NQ==&mid=2247487317&idx=1&sn=6212179fdecd97c8dfac332b40a08ef2&chksm=eb81f131dcf678270b4d34b90cde6f8eac4280d2e74c0ef989b9bd2dbc20a07054a3fddb6549&scene=21#wechat_redirect","blocks":[{"t":"h","x":"Thomas看看世界","xe":"Thomas Chu Photo"},{"t":"p","x":"每周一篇教程，让摄影不再难学","b":false,"xe":"One tutorial a week — making photography easy to learn"},{"t":"h","x":"我是极影AX摄影师Joyous周游","xe":"I'm AdventureX photographer Joyous (Zhou You)"},{"t":"h","x":"引言","xe":"Introduction"},{"t":"p","x":"现在越来越多的摄影师对后期技术非常“痴迷”！以为PS在手，天下我有，后期是万能的！也有很多摄影师都是一味的”复制“机位，并没有对风光摄影做出”创造性“的思考！","b":false,"xe":"More and more photographers are 'obsessed' with post-processing — as if Photoshop in hand means owning the world, as if editing is omnipotent! Many others simply 'copy' existing viewpoints without any 'creative' thinking about landscape photography!"},{"t":"p","x":"接下来我就以在智利百内国家公园这张作品为例，讲解下风光摄影前期有哪些工作流程。","b":false,"xe":"Using this work from Torres del Paine National Park in Chile as an example, let me walk through the on-location workflow of landscape photography."},{"t":"img","f":"img-02","w":800,"h":1200},{"t":"h","x":"Part","xe":"Part"},{"t":"h","x":"1","xe":"1"},{"t":"h","x":"如何探索机位？","xe":"How to Explore for Vantage Points?"},{"t":"p","x":"讲今天的内容前先抛出一个思考问题：如果摄影师A和摄影师B同时去了一个区域或者一个国家公园拍照，两个人拍出来的东西是否就是一样呢？","b":true,"xe":"Before today's content, a question to ponder: if photographers A and B go to the same region or national park at the same time, will their photos look the same?"},{"t":"p","x":"对于风光摄影中的山地摄影来讲，到了一个山区，从不同角度看山峰，山峰的形态会有所不同，但是山峰肯定是主体也是中景，一般在山峰这个主体固定的情况下，我们会寻求搭配的前景元素和搭配的天气元素的变化！","b":false,"xe":"In mountain photography, a peak looks different from different angles, but the peak is always the subject and the midground. With the subject fixed, we seek variation in the supporting foreground elements and the weather elements!"},{"t":"p","x":"风光摄影师确实靠天吃饭，天什么样不是我们决定的，但是搭配的前景和前景和中景（主体）的搭配沟通关系和大小关系这个是我们可以决定的，也是一个摄影师探索能力的一项考量标准。","b":true,"xe":"Landscape photographers do live at the mercy of the sky — we don't decide the weather. But the foreground we pair with the midground (subject), their spatial dialogue and size relationship — that we CAN decide. It's a measure of a photographer's exploratory ability."},{"t":"p","x":"到了一个陌生的地方，人生地不熟，这时候最高效的办法是参考一些该地区之前风光高手的照片和机位，了解当地的地理情况。就像写博士论文都有个参考文献，这里我们要记住的是”参考“，而不是”照抄“。","b":false,"xe":"Arriving somewhere unfamiliar, the most efficient approach is to study photos and vantage points from accomplished shooters of that area and learn the local geography. A PhD thesis has references — but remember the keyword is 'reference', not 'copy'."},{"t":"p","x":"去百内国家公元前行程上参考了Vincent_chen的穷游文章《行摄智利南部——惊艳的百内国家公园》。","b":true,"xe":"For the Torres del Paine trip, I referenced Vincent_chen's travel article 'Photographing Southern Chile — the Stunning Torres del Paine'."},{"t":"img","f":"img-03","w":1080,"h":876},{"t":"p","x":"这里Vicent总结了世界级风光大师（Marc Adamus，Max Rive，DK）在百内国家公园拍摄的照片。","b":false,"xe":"Vincent summarized photos taken in the park by world-class landscape masters (Marc Adamus, Max Rive, DK)."},{"t":"p","x":"最右下角Max Rive曾经拍摄过一张枯树与角峰的巨片。其实这种枯树在巴塔哥尼亚是一个地方特色，有那么一句话”这里的鸟儿倒着飞，这里的树儿横着长。“说的就是巴塔哥尼亚的大风早就了这一神奇的景观。","b":false,"xe":"At the bottom right, Max Rive once made an epic shot of a dead tree with the Cuernos peaks. Such gnarled trees are a local signature of Patagonia — as the saying goes, 'here the birds fly backwards, and the trees grow sideways' — Patagonia's fierce winds created this magical sight."},{"t":"p","x":"看了巴塔哥尼亚当地的神奇的树木，又觉得Max Rive这张作品可以拍的更加的精细和精进，前提是找到一颗”心目中的树“，这棵树一定要有特色，而且我想拍摄一种包围构图的树木和山峰的关系，这些都是早早的就在脑海中画完了，只是想找到心目中那张”画“的场景。","b":false,"xe":"Seeing Patagonia's magical trees, I felt Max Rive's concept could be pushed further and more refined — provided I found 'the tree of my mind'. It had to be distinctive, and I wanted an embracing composition of tree and peak. All of this was sketched in my head long before; I just needed to find the scene matching that 'drawing'."},{"t":"img","f":"img-04","w":1080,"h":720},{"t":"p","x":"心中画草图（来自一个灵魂画手）","b":false,"xe":"Sketch in my mind (from a soulful doodler)"},{"t":"img","f":"img-05","w":1080,"h":743},{"t":"p","x":"然后就要在地图上先确定那些区域可以拍摄到我想要的场景，也是我想要的这颗树的大致搜索范围。从地图等高线上看，肯定要远离主体山峰，主体山峰附近的W线徒步线路就不用搜索了，因为古诗云：云深不知处 只在此山中。","b":false,"xe":"Then I marked on the map the areas where my desired scene might exist — the rough search range for my tree. From the contour lines, I had to get far from the main peaks; the W trek near them was out. As the old poem goes: 'deep in the clouds, somewhere in these mountains' — you can't shoot the mountain from inside it."},{"t":"p","x":"所以拍山的机位，一定不会在这座山里，而是山对面的某处。于是我先沿着地图中红色虚线的湖边道路周边搜索有没有合适的树木。","b":false,"xe":"So the vantage point for a mountain is never inside that mountain, but somewhere across from it. I first searched along the lakeside road marked with the red dotted line for suitable trees."},{"t":"img","f":"img-06","w":1080,"h":810},{"t":"p","x":"路边都是这种杂乱的树，从形态上还有表达意境的空灵上都让人不满意。而且这些长在山坳中的树，位置低，角峰也被山丘遮挡掉了一部分，让人感觉意犹未尽。","b":false,"xe":"The roadside trees were all messy — unsatisfying in both form and the ethereal mood I wanted. Growing in low gullies, they sit too low, and the Cuernos are partly blocked by hills — it all feels unfinished."},{"t":"p","x":"于是决定向地图中我圈出来的红色的山丘的高地处探索。只有那种长在山顶，并且处于山顶前沿的树，才没有干扰元素遮挡，而且还可以在高处看完整整个雪山。","b":false,"xe":"So I decided to explore the high ground of the red-circled hill on my map. Only a tree growing at the leading edge of a summit has no obstructing elements — and from up there, the whole snow mountain is visible."},{"t":"p","x":"虽然在地图上我圈起来的红色区域很小，但是其实是很大一片，探索起来也是登山，每次写教程都是文字，大家都不能身临其境的感觉探索有多难，这次我带来一部风光摄影探索纪录片，让大家跟着风光摄影师的视角去了解下一张照片背后的心酸和腿酸还有脚酸。","b":false,"xe":"The red area I circled looks small on the map but is actually huge, and exploring it means climbing. Every past tutorial was text, so you couldn't feel how hard the exploration is. This time I made a landscape-photography exploration documentary — follow a landscape photographer's perspective to experience the heartache, leg-ache and foot-ache behind a single photo."},{"t":"video"},{"t":"p","x":"看了视频之后，开头的问题想必大家心目中有了答案，探索能力不同，两个摄影师拍出来的照片也会截然不同。","b":true,"xe":"After watching the video, you surely have the answer to the opening question: with different exploratory abilities, two photographers produce completely different photos."},{"t":"h","x":"Part","xe":"Part"},{"t":"h","x":"2","xe":"2"},{"t":"h","x":"表达方式的选择","xe":"Choosing the Mode of Expression"},{"t":"p","x":"接下来我们继续思考，是不是两个摄影师A和摄影师B站在同一个机位拍摄，那么拍出的照片就一模一样？","b":true,"xe":"Let's think further: if photographers A and B stand at the very same spot, are their photos then identical?"},{"t":"img","f":"img-07","w":1080,"h":1618},{"t":"p","x":"很多人问我上面这张《X Time》这张水流的效果怎么拍摄的这么好看？这种通过对相机的快门、光圈、ISO等参数的调节，以实现画面元素的变化效果称之为画面的表达方式。","b":false,"xe":"Many people ask how I made the water in 'X Time' above look so beautiful. Adjusting shutter speed, aperture, ISO and other parameters to change how scene elements appear — that's what I call the image's 'mode of expression'."},{"t":"p","x":"之前写过一篇《海景慢门的五种表达方式》，介绍了通过变化快门速度和使用CPL滤镜来实现海景慢门的【迸溅】、【雾化】、【镜面】、【透明】、【拉丝】五种表达方式，同样的海水拍出不一样的效果，摄影师化身为海浪魔术师！","b":false,"xe":"My earlier article 'Five Expressions of the Long-Exposure Seascape' introduced splash, mist, mirror, transparency and streaking — achieved by varying shutter speed and using a CPL. The same sea, five different effects: the photographer becomes a magician of waves!"},{"t":"img","f":"img-08","w":816,"h":1200},{"t":"img","f":"img-09","w":1080,"h":720},{"t":"img","f":"img-10","w":1080,"h":869},{"t":"img","f":"img-11","w":1080,"h":720},{"t":"img","f":"img-12","w":1080,"h":720},{"t":"img","f":"img-13","w":1080,"h":720},{"t":"img","f":"img-14","w":1080,"h":720},{"t":"p","x":"当然参数变化衍生的达方式的变化只是冰山一角，比如二次曝光这些也是表达方式中常见的形式，不可拘泥。","b":false,"xe":"Of course, expression changes derived from parameters are just the tip of the iceberg — double exposure and the like are also common forms. Don't be rigid about it."},{"t":"p","x":"然而我们可以通过不同的表达方式去表达自己的作品，就算两位摄影师站在同一机位，拍出来的效果上也会完全不同。","b":true,"xe":"With different modes of expression, even two photographers at the same spot will produce completely different results."},{"t":"h","x":"今天讲的案例照片也并没有用特殊的表达方式，只是中规中矩的拍摄。","xe":"Today's case study, by the way, used no special expression — just a straightforward capture."},{"t":"p","x":"Part","b":false,"xe":"Part"},{"t":"p","x":"3","b":false,"xe":"3"},{"t":"h","x":"拍摄方式的选择","xe":"Choosing the Capture Technique"},{"t":"p","x":"我们再进一步思考，摄影师A和摄影师B站在同一机位，同一构图，相机参数设置完全相同，是不是两张照片就一模一样？","b":true,"xe":"Let's go one step further: photographers A and B at the same spot, same composition, identical camera settings — are the two photos now identical?"},{"t":"p","x":"为了提高的画质或者完善构图或者去除画面瑕疵，我们通常为了突破相机的极限去做一些合成拍摄，比如景深合成、曝光合成、接片合成、堆栈合成、焦段合成等技术。","b":true,"xe":"To improve image quality, perfect a composition or remove flaws, we often push beyond the camera's limits with composite capture techniques: focus stacking, exposure blending, panorama stitching, image stacking, focal-length blending and so on."},{"t":"p","x":"这时候我们就要考虑，该场景在当前的自然条件下，有哪些需要完善的地方，能让我们的画面更精进一步！","b":false,"xe":"So we must consider: under the current natural conditions, what could be improved to make our image even better?"},{"t":"p","x":"比如今天讲的案例这个场景。拍摄的时候为了追求夸张前景的效果，尽量会贴近树木来拍摄和构图，利用广角的透视畸变来体现怪树的“张牙舞爪”的姿态。","b":false,"xe":"Take today's case. To exaggerate the foreground, I got as close to the tree as possible, using the wide-angle's perspective distortion to emphasize the gnarled tree's 'clawing' posture."},{"t":"img","f":"img-15","w":800,"h":649},{"t":"p","x":"如果对山体对焦，山体虽然是纹理很清晰但是最前景的树干的细节纹理却不实。","b":false,"xe":"If I focus on the mountain, its texture is crisp — but the foreground trunk's detail goes soft."},{"t":"img","f":"img-16","w":800,"h":652},{"t":"img","f":"img-17","w":800,"h":644},{"t":"p","x":"相反，如果对前景的树干底部对焦，山体就是虚的。","b":false,"xe":"Conversely, focusing on the base of the foreground trunk leaves the mountain blurred."},{"t":"img","f":"img-18","w":800,"h":647},{"t":"p","x":"而在大景风光中我们往往希望画面中的每个细节都十分锐利，这样我们前期的拍摄上就需要使用“景深合成”拍摄技术去突破光学景深的极限。","b":false,"xe":"In grand landscape work we usually want every detail razor-sharp, so on location we use 'focus stacking' to break through the optical depth-of-field limit."},{"t":"p","x":"通过移动对焦点，分别对不同景深的景物分别对焦拍摄一组照片，后期对于不同景深的照片进行PS后期合成，形成全景深的照片，提高大景风光的每个局部的细节表现。","b":false,"xe":"By moving the focus point, you shoot a series of frames focused on different depths, then blend them in Photoshop into a full-depth image — maximizing detail in every part of a grand scene."},{"t":"img","f":"img-19","w":800,"h":1200},{"t":"p","x":"因此，拍摄方式的选择，也会让两位摄影师的拍摄有着细节性的差异，即使两位摄影师站在同一机位，同一构图，同一表达方式，同一种拍摄手法，但是后期的艺术修养和审美的不同，又会让作品呈现出不同的感觉。","b":true,"xe":"So the choice of capture technique also creates detailed differences between two photographers' work. And even with the same spot, composition, expression and technique, different artistic cultivation and aesthetics in post will still make the works feel different."},{"t":"h","x":"结语","xe":"Conclusion"},{"t":"p","x":"前期是谱曲，后期是演奏，看了今天的前期教程，尤其是视频内容，相信大家能更好的理解极影反复提到的下面这段话：","b":false,"xe":"On-location work composes the score; post-processing performs it. After today's tutorial — especially the video — you'll better understand the words AdventureX keeps repeating:"},{"t":"p","x":"我们相信每一副作品的真正酝酿，不是曝光所需要的那几秒时间，而是在抵达拍摄地，打开快门之前的旅途上，所经历的漫长探索，思考和体验。","b":true,"xe":"We believe the true gestation of a work is not the few seconds of exposure, but the long exploration, thinking and experience on the journey before you arrive at the location and open the shutter."},{"t":"img","f":"img-20","w":1080,"h":472}],"titleEn":"So That's How It's Shot! Video Walkthrough of a Landscape Photography Workflow"}