{"slug":"light-enhance-blend-lum","title":"如何后期强化照片的光线感？图层混合+亮度蒙版实战应用","author":"Thomas看看世界","date":"2021-02-21","wechat":"https://mp.weixin.qq.com/s?__biz=MzI4NDA5MzE5NQ==&mid=2247492733&idx=1&sn=344da48592257bbb88c05ce602756637&chksm=eb821a19dcf5930f2fa4c1c3b5cd19d766574ddaf2fd1a81fb1d98cf746812e02c2894d56eb1&scene=21#wechat_redirect","blocks":[{"t":"h","x":"Thomas看看世界","xe":"Thomas Chu Photo"},{"t":"p","x":"光线后期渲染技术，可以极大的提升照片的光线感，从而营造画面层次，烘托作品氛围。","b":false,"xe":"Light rendering in post can greatly enhance the sense of light in a photo, building depth and atmosphere."},{"t":"p","x":"今天的教程，Thomas会教大家利用Photoshop的图层混合模式，以及亮度蒙版技术，简单的渲染出自然和谐的光线效果。","b":false,"xe":"In today's tutorial, Thomas teaches you how to render natural, harmonious light with Photoshop's layer blend modes and luminosity masks."},{"t":"img","f":"img-02","w":1080,"h":720},{"t":"h","x":"视频教程","xe":"Video Tutorial"},{"t":"bili","bv":"BV14K4y1H7oW","bpic":"bili-1","bt":"如何后期强化照片的光线感？图层混合+亮度蒙版实战应用"},{"t":"p","x":"这一篇是上面视频的图文整理。 Thomas 用两张原片（索尼 A7R4 + 35mm f/1.4 拍摄）现场演示了风光后期的光线渲染技术：新建空白图层，配合图层混合模式与亮度蒙版，把日出日落时「光线照进来」的氛围感重新画回照片里。文章配有视频关键帧截图，原片与亮度蒙版动作的下载链接见原文。","xe":"This is the illustrated companion to the video above. Using two raw files (shot on the Sony A7R4 with a 35mm f/1.4), Thomas demonstrates the light-rendering technique in landscape post-processing live: create a blank layer, then combine layer blend modes with luminosity masks to paint the atmosphere of sunlight streaming into a sunrise or sunset frame back into the photo. Keyframe screenshots are included; download links for the raw files and the luminosity-mask action are in the original article."},{"t":"img","f":"v01","w":768,"h":480},{"t":"h","x":"01 光线渲染：空白图层与混合模式","xe":"01 Light Rendering: Blank Layers and Blend Modes"},{"t":"p","x":"第一步是新建一个空白图层——图层面板右下角的倒数第二个图标（视频 1:26 处）。接着选择前景色，用吸管吸取画面中高光的颜色，比如远处白色光线的区域，再把它的亮度稍微提高一点，作为「画光线」的颜料（视频 1:48 处）。","xe":"Step one is creating a blank layer — the second icon from the right at the bottom of the Layers panel (at 1:26 in the video). Next, set the foreground color by sampling a highlight tone in the image, such as the distant white light, and raise its brightness slightly — this becomes the \"paint\" for your light (at 1:48 in the video)."},{"t":"img","f":"v02","w":768,"h":480},{"t":"p","x":"画笔选择圆形软边笔刷，硬度设为 0，大小合适即可，不透明度要调得比较低，比如百分之几十甚至 30% 以下，然后轻轻涂抹（视频 1:58 处）。注意在「正常」混合模式下，这样涂出来的是一团雾气——如果你想要的就是云雾效果，用浓雾笔刷配合这个方法也可以人工画出来，但今天要的不是它。","xe":"Choose a round soft-edged brush with hardness 0 and a suitable size, keep the opacity quite low — a few dozen percent, even below 30% — and paint gently (at 1:58 in the video). Note that on the \"Normal\" blend mode this paints a patch of fog. If fog is what you want, a cloud or fog brush with this method works well too, but that is not today's goal."},{"t":"img","f":"v03","w":768,"h":480},{"t":"p","x":"把混合模式改成「柔光」或「叠加」，雾气立刻变成光线（视频 2:52 处）。两者的区别：叠加对亮度改变更大、显得更通透；柔光则多少保留一点正常模式的雾气感，适合清晨那种带薄雾的照片。三种模式各司其职——渲染云雾用正常，淡淡的光线感用柔光，特别通透强烈的光用叠加，按你想要的渲染结果来选（视频 3:08 处）。","xe":"Switch the blend mode to \"Soft Light\" or \"Overlay\" and the fog turns into light (at 2:52 in the video). The difference: Overlay changes luminance more strongly and looks crisper and more transparent, while Soft Light keeps a trace of the Normal mode's haziness — perfect for misty early-morning pictures. Each mode has its job: Normal for fog, Soft Light for a faint glow of light, Overlay for an intense, transparent beam — choose by the result you want (at 3:08 in the video)."},{"t":"img","f":"v04","w":768,"h":480},{"t":"img","f":"v05","w":768,"h":480},{"t":"p","x":"把视图缩小看整体效果（视频 4:10 处）：加上这个图层之后，远处仿佛有一道光线射过来，更符合现场逆光的感受，照片也因此更加生动。此时不透明度可能有点猛，可以稍稍回调。","xe":"Zoom out to judge the overall effect (at 4:10 in the video): with this layer added, a beam of light seems to stream in from the distance, matching the backlit feeling on site and making the photo more alive. If the opacity now looks too strong, dial it back a little."},{"t":"img","f":"v06","w":768,"h":480},{"t":"h","x":"02 亮度蒙版：光线只落在受光面","xe":"02 Luminosity Masks: Light Only on the Lit Side"},{"t":"p","x":"裸刷的光线有个问题：光从远处射来，应该主要作用于高光区域，而画面里的山明明处于背光面，不该被提亮这么多（视频 4:59 处）。解决办法就是亮度蒙版——用亮度蒙版动作（如 TK Action）载入一组亮度通道，Thomas 的自制动作可以在原文下载，运行后通道面板里会出现亮一、亮二、亮三等通道（视频 5:17 处）。","xe":"Bare brushwork has a problem: light streaming from afar should mostly affect the highlights, yet the mountain here sits on the shadow side and should not brighten this much (at 4:59 in the video). The fix is a luminosity mask — load a set of luminosity channels with a mask action such as TK Action (Thomas's custom action is downloadable from the original article); once run, the Channels panel shows channels like Lights 1, 2 and 3 (at 5:17 in the video)."},{"t":"img","f":"v07","w":768,"h":480},{"t":"p","x":"选择「亮二」通道（比亮一更收窄，高光受光面几乎完全受影响、阴影只受一点点影响，过渡自然），按住 Ctrl 单击载入为选区，点回 RGB 复合通道，再回到图层面板给渲染图层新建蒙版——选区自动转换成亮度蒙版（视频 6:17 处）。这时不透明度可以恢复到 100%：亮的地方提亮得多、暗的地方提亮得少，光线的感觉一下子自然了。","xe":"Pick the \"Lights 2\" channel — narrower than Lights 1, so the lit highlights take almost the full effect, the shadows only a touch, with smooth transitions. Ctrl-click it to load as a selection, click back to the RGB composite, then return to the Layers panel and add a mask to the render layer — the selection converts into a luminosity mask automatically (at 6:17 in the video). Opacity can now go back to 100%: bright areas lift strongly, dark ones barely, and the light instantly feels natural."},{"t":"img","f":"v08","w":768,"h":480},{"t":"h","x":"03 二次强化：前景光条与效果加倍","xe":"03 A Second Pass: the Foreground Ridge, Doubled"},{"t":"p","x":"还想强化前景这条雪脊的光线感，就再建一个空白图层，混合模式改叠加，用白色画笔、30% 左右的低不透明度直接涂抹（视频 7:00 处）。一涂会发现周边阴影也被提亮，笔刷感太明显——继续用亮度蒙版限制：这次要「亮边尽量亮、周边都是黑」的通道，亮一明显不行，亮二或亮三都可以（视频 7:42 处）。","xe":"To strengthen the light on the foreground snow ridge, create another blank layer, set it to Overlay, and paint directly with a white brush at low opacity around 30% (at 7:00 in the video). You will notice the surrounding shadows brighten too — the brushwork is too obvious. Constrain it with a luminosity mask again: this time you need a channel where the ridge is bright and everything around is black. Lights 1 clearly won't do; Lights 2 or 3 work (at 7:42 in the video)."},{"t":"img","f":"v09","w":768,"h":480},{"t":"p","x":"把亮二载入选区、转换为图层蒙版之后，前景的光线就被干净地提亮了（视频 8:04 处）。觉得一次不够？Ctrl+J 复制一个图层，效果直接加倍。最后把所有渲染图层建个组，点击组的可见性开关对比前后：光线明媚、逆光的感觉就出来了（视频 8:24 处）。","xe":"After loading Lights 2 as a selection and converting it to a layer mask, the foreground light is lifted cleanly (at 8:04 in the video). Not strong enough? Ctrl+J duplicates the layer and doubles the effect. Finally group all the render layers and toggle the group's visibility to compare before and after — the bright, sunlit, backlit feeling emerges (at 8:24 in the video)."},{"t":"img","f":"v10","w":768,"h":480},{"t":"img","f":"v11","w":768,"h":480},{"t":"h","x":"04 案例：冰湖的落日光晕","xe":"04 Case Study: the Sunset Glow on an Ice Lake"},{"t":"p","x":"第二张冰湖照片用同样的流程。新建空白图层，混合模式柔光，前景色直接从画面里吸取，再把色相稍微偏橙一点点、亮度提高一点（视频 8:51 处）。画笔不透明度这次压得更低，约 10% 左右，不断变化笔刷大小，把光晕的整体感觉慢慢刷出来（视频 9:05 处）——刷完之后，落日的光线感立刻就有了。","xe":"The second photo, a frozen lake at sunset, follows the same workflow. Create a blank layer, set it to Soft Light, sample the foreground color from the image, then nudge the hue slightly toward orange and raise the brightness a touch (at 8:51 in the video). This time push brush opacity even lower, around 10%, keep varying the brush size, and slowly paint in the overall glow (at 9:05 in the video) — when you finish, the feeling of setting sunlight appears at once."},{"t":"img","f":"v12","w":768,"h":480},{"t":"p","x":"再建一个空白图层，这次只想渲染冰的高亮部分，让冰更有光泽、更有质感（视频 9:25 处）。同样用 TK Action 查看亮度通道：亮二几乎只选中本来就被阳光照亮的冰面，阴影基本不受影响。图层混合模式改叠加，前景色的饱和度调低一点，只提亮冰面、稍微带一点阳光的颜色（视频 9:53 处）。","xe":"Create one more blank layer, this time to render only the brightest parts of the ice so it gains luster and texture (at 9:25 in the video). Check the luminosity channels with TK Action again: Lights 2 selects almost exactly the sunlit ice while leaving the shadows untouched. Set the layer to Overlay, lower the foreground color's saturation a bit — the goal is to brighten the ice with just a hint of sunlight color (at 9:53 in the video)."},{"t":"img","f":"v13","w":768,"h":480},{"t":"p","x":"如果刷完发现颜色饱和度太低、变成了一团白光，就 Ctrl+A 全选、Delete 删掉重来，把饱和度加回来再刷（视频 10:45 处）。最终前后一对比：冰面反光的质感与阳光普照的暖意都被明显强化，而画面依然自然可信——这就是图层混合模式加亮度蒙版这对组合在风光后期中的威力，尤其适合日出日落题材（视频 11:06 处）。","xe":"If the result turns out too desaturated — a blob of white light — press Ctrl+A to select all, Delete, and repaint with the saturation raised (at 10:45 in the video). In the final before-and-after, both the sheen of the reflective ice and the warmth of the sunlight are clearly strengthened while the picture stays natural and believable — that is the power of blend modes plus luminosity masks in landscape post-processing, especially for sunrise and sunset work (at 11:06 in the video)."},{"t":"img","f":"v14","w":768,"h":480},{"t":"quote","x":"1. 光线渲染三步走：新建空白图层、吸取画面高光色并提亮、用低不透明度的软边画笔涂抹；2. 混合模式决定光线性格：正常模式是雾气，柔光是清晨般的淡淡光感，叠加是通透强烈的亮光；3. 亮度蒙版是自然的关键：让光线只落在受光面的高光上，亮部提亮多、暗部提亮少；4. 效果不够就 Ctrl+J 复制图层加倍，但注意颜色饱和度不宜过低，否则会刷成不自然的白光。","xe":"1. Light rendering in three steps: create a blank layer, sample and brighten a highlight color from the image, then paint with a low-opacity soft brush; 2. The blend mode defines the light's character: Normal is fog, Soft Light a faint morning glow, Overlay an intense transparent beam; 3. Luminosity masks are the key to realism — light falls on the lit highlights, brightening light areas strongly and shadows barely; 4. When one pass is not enough, Ctrl+J duplicates the layer to double the effect, but watch the color saturation — too low and you paint an unnatural blob of white."},{"t":"p","x":"亮度蒙版自制动作与练习文件下载：","b":false,"xe":"Download the custom luminosity mask action and practice files:"},{"t":"p","x":"链接：https://pan.baidu.com/s/1Q6uNJKZm4ETU8HX-zSrsZQ","b":false,"xe":"Link: https://pan.baidu.com/s/1Q6uNJKZm4ETU8HX-zSrsZQ"},{"t":"p","x":"提取码：rjtb","b":false,"xe":"Extraction code: rjtb"},{"t":"img","f":"img-03","w":1080,"h":720},{"t":"img","f":"img-04","w":1080,"h":720},{"t":"p","x":"本次练习所提供的两张原片，使用索尼A7R4相机，配合35mm f1.4镜头拍摄。","b":false,"xe":"The two raw files for this exercise were shot on a Sony A7R IV with a 35mm f/1.4 lens."},{"t":"h","x":"欢迎关注@Thomas看看世界","xe":"Follow @Thomas Chu Photo,"},{"t":"h","x":"每周学会一个摄影技能","xe":"and learn one photography skill every week."}],"titleEn":"Enhancing Light in Post: Layer Blending + Luminosity Masks in Action"}