{"slug":"long-exposure-seascape-5","title":"你知道慢门海景的五种拍摄方式吗？","author":"Thomas看看世界","date":"2017-12-01","wechat":"https://mp.weixin.qq.com/s?__biz=MzI4NDA5MzE5NQ==&mid=2247486204&idx=2&sn=699451181af7fe5ba33422c9645fdd35&chksm=eb81f498dcf67d8ea326d91998f8438448ec3cde59ca215039870af8893ea12e9058c7843d75&scene=21#wechat_redirect","blocks":[{"t":"h","x":"我是极影AX摄影师---周游","xe":"I'm AdventureX photographer Zhou You"},{"t":"img","f":"img-01","w":640,"h":508},{"t":"p","x":"2012年看过一部用延时摄影和高速摄影拍摄方式介绍美国国家公园的片子《TimeScapes》(时间的风景)，画面干净细腻，锐度惊人！配乐同样优美，随手截图，绝对可以做电脑桌面！延时摄影和高速摄影的记录方式，“梦幻而真实”地纪录了美洲的国家公园的斗转星移，日夜星辰，和波涛汹涌的大海……从此就被这种真实而梦幻的记录方式所深深吸引，也决定拿起相机，记录这种真实发生但是又是超越人眼所见的梦幻风景。","b":false,"xe":"In 2012 I watched 'TimeScapes', a film about America's national parks made with time-lapse and high-speed photography — clean, delicate imagery with astonishing sharpness, and an equally beautiful score. Any random frame could be a desktop wallpaper! These techniques recorded the parks' wheeling stars, day-and-night skies and surging seas in a way that was 'dreamlike yet real'. I've been captivated by that way of seeing ever since, and decided to pick up a camera to record these dreamlike scenes that truly happen yet exceed what the eye can see."},{"t":"img","f":"img-02","w":640,"h":426},{"t":"p","x":"《雷霆之怒》","b":false,"xe":"'Thunder's Fury'"},{"t":"p","x":"慢门拍摄应用到拍海时，生生不息的海浪在慢门的效果下或如雾如云、或拉丝如成拿铁咖啡杯里的拉花，或如镜子反射漫天红霞，或浪花飞溅，千丝若水。慢门拍摄时，天空的云彩也会在慢门下幻化成不同的形态。而这些效果用肉眼是无法直接看到的，这些景象或震撼或宁静或唯美或赋有冲击力……","b":false,"xe":"When long exposure is applied to the sea, the ceaseless waves turn to mist or clouds, to streaks like latte art, to a mirror reflecting a sky full of red glow, or to splashing spray like threads of water. The clouds above also morph into different shapes. None of these effects are visible to the naked eye — the scenes are by turns stunning, serene, beautiful and impactful…"},{"t":"p","x":"慢门海景摄影即使是同一机位，使用不同的表达方式拍摄，拍摄出来的效果会截然不同，这也是慢门海景摄影的魅力所在，下面就详细介绍下慢门海景的五种表达方式。","b":false,"xe":"Even from the same spot, different long-exposure expressions produce completely different results — that's the charm of long-exposure seascapes. Below are the five expressions in detail."},{"t":"h","x":"1","xe":"1"},{"t":"p","x":"迸溅 参考快门速度 1/10 s","b":false,"xe":"Splash — reference shutter speed 1/10 s"},{"t":"img","f":"img-03","w":640,"h":941},{"t":"p","x":"《千丝若水》","b":false,"xe":"'Silken Threads Like Water'"},{"t":"p","x":"海浪过来的速度很快，撞击在岩石上迅速弹射开，就像烟花爆炸的效果一样叫做迸溅拍摄。迸溅也是一种非常危险的表达方式，大家也不要轻易尝试，拍摄时候相机最好套上防水罩，以免相机迸上海水腐蚀电路板，我曾经在火山岛拍摄迸溅的表达方式，一台5D3就报废在了那里。","b":false,"xe":"Waves rush in fast, strike the rocks and burst apart like fireworks — this is 'splash' photography. Splash is also a dangerous expression, so don't try it lightly: put a rain cover on your camera to keep corrosive seawater off the circuit boards. I once destroyed a 5D Mark III shooting splash on a volcanic island."},{"t":"h","x":"2","xe":"2"},{"t":"p","x":"拉丝 参考快门速度 1/4 s","b":false,"xe":"Streaking — reference shutter speed 1/4 s"},{"t":"img","f":"img-04","w":640,"h":427},{"t":"p","x":"《沧海一“树”》","b":false,"xe":"'A Lone Tree in the Vast Sea'"},{"t":"p","x":"海浪也是冲击速度很快，但是海浪的运动并没有受到岩石的阻碍，在平坦的沙滩上冲击过来，并留下一柳一柳头发丝一样的浪的痕迹，这种表达方式叫做拉丝。拉丝这种表达方式也非常难，快门速度不能千篇一律，这里1/4是个参考值，拉丝的最佳效果和海浪的冲击速度、地形条件都有很大关系，不能一概而论，要根据场景因地制宜。我在新西兰拍海，那边的沙滩很平缓，坡度不大，海浪也不急，我曾经用过1s来拉丝，所以这个快门速度以1/4为参考值，反复试验。拉丝的最佳效果记住两个关键字“丝滑”，拍摄出来的效果一定要如蚕丝一般，丝丝入扣，不能显得海浪混沌在一起，也要像剥了皮的荔枝般爽滑，不能拍出断断续续不连贯的感觉。","b":false,"xe":"The waves also rush in fast, but unobstructed by rocks they sweep across flat sand, leaving willow-like, hair-thin traces — this is 'streaking'. Streaking is very tricky: no single shutter speed fits all. The 1/4 s here is only a reference; the ideal speed depends heavily on wave velocity and terrain and must be found by trial and error on site. In New Zealand, where beaches slope gently and waves are calm, I've used 1 s. So treat 1/4 s as a starting point and experiment. Remember two keywords for the best streaking: 'silky'. The result must look like interlocking silk threads — never a chaotic mess — and as smooth as a peeled lychee, never broken or disjointed."},{"t":"img","f":"img-05","w":640,"h":427},{"t":"p","x":"《神秘海洞》朱静姝","b":false,"xe":"'Mysterious Sea Cave' by Zhu Jingshu"},{"t":"p","x":"拉丝又可细分为“前冲”和“回溯”，顾名思义，前冲就是，预判海水朝着镜头方向冲过来前按下快门，相机记录下海水冲击过来非常有冲击力的景象的瞬间叫做前冲，一般拍摄前冲浪需要猛烈并且没有大的障碍物的阻挡，而且按快门的时候需要预判，非常考验拍摄者的拍海经验。《沧海一“树”》和《神秘海洞》都是用了前冲的表达方式。","b":false,"xe":"Streaking subdivides into 'surge' and 'retreat'. Surge means anticipating the moment the sea charges toward the lens and pressing the shutter just before it arrives — capturing the most powerful instant. Surge needs violent waves free of large obstacles, and the timing demands prediction that tests your seascape experience. Both 'A Lone Tree in the Vast Sea' and 'Mysterious Sea Cave' use the surge expression."},{"t":"img","f":"img-06","w":640,"h":427},{"t":"p","x":"《冰水晶》 朱静姝","b":false,"xe":"'Ice Crystal' by Zhu Jingshu"},{"t":"p","x":"“回溯”，顾名思义，海水受地球引力影响，相机记录下海浪从镜头前退回海里的过程。回溯这种表达方式也是受地形限制，如果是平滑的海滩上，最好有一些小鹅卵石、贝壳、或者碎冰块点缀，这样拍摄回溯的时候，海浪退回过程受到微小的阻碍，海浪或被碎石分割成丝状，或被大障碍物阻挡，拉丝成浪漫的心形。","b":false,"xe":"'Retreat', as the name suggests, records the wave sliding back into the sea under gravity. Retreat is terrain-dependent too: on a smooth beach it's best to have small pebbles, shells or ice fragments as accents, so the retreating water meets tiny resistance — split into silky threads by gravel, or drawn into a romantic heart shape around a larger obstacle."},{"t":"img","f":"img-07","w":640,"h":428},{"t":"p","x":"《海洋之心》 朱静姝","b":false,"xe":"'Heart of the Ocean' by Zhu Jingshu"},{"t":"img","f":"img-08","w":640,"h":412},{"t":"p","x":"《涨潮》朱静姝","b":false,"xe":"'Rising Tide' by Zhu Jingshu"},{"t":"p","x":"如果是高低落差不大的岩石拍摄回溯，水流在回流过程远远没有冲击而来时候的力量大、速度快，缓缓回流的海水可以拉丝成绸缎一般，如果岩石落差大一些，回溯的时候可以拍出小瀑布的感觉。","b":false,"xe":"When shooting retreat over low-relief rocks, the backwash is far weaker and slower than the incoming surge, and the gentle flow stretches into satin-like streaks. With taller rock steps, retreat can look like small waterfalls."},{"t":"h","x":"3","xe":"3"},{"t":"p","x":"雾化 参考快门速度 30s","b":false,"xe":"Mist — reference shutter speed 30 s"},{"t":"img","f":"img-09","w":640,"h":427},{"t":"p","x":"《踏浪寻梅》","b":false,"xe":"'Seeking Plum Blossoms Over the Waves'"},{"t":"p","x":"海浪冲击速度不是那么猛烈，但是也是有岩石的阻碍，海浪在岩石缝隙之间涌动，用大于30s的快门速度拍摄出来，好像岩石在云雾中的感觉，这种表达方式叫做雾化。","b":false,"xe":"When the waves are less violent but still thread through rock crevices, a shutter longer than 30 s makes the rocks look as if they stand in drifting clouds — this is 'mist'."},{"t":"img","f":"img-10","w":640,"h":427},{"t":"p","x":"《岩石岛》 朱静姝","b":false,"xe":"'Rock Island' by Zhu Jingshu"},{"t":"h","x":"4","xe":"4"},{"t":"p","x":"镜面 参考快门速度 30s","b":false,"xe":"Mirror — reference shutter speed 30 s"},{"t":"img","f":"img-11","w":640,"h":427},{"t":"p","x":"《刀尖上的舞蹈》","b":false,"xe":"'Dance on the Knife's Edge'"},{"t":"p","x":"海水还有一种死汛或者在内海（比如渤海湾内）海水涌动不大，就像湖水的感觉，用30s的慢门拍出来就像镜子面一样反射漫天的霞光，这种表达方式叫做镜面。","b":false,"xe":"During slack tides or in enclosed seas (like Bohai Bay), the water barely moves and feels like a lake. A 30 s exposure renders it as a mirror reflecting the sky's rosy light — this is 'mirror'."},{"t":"img","f":"img-12","w":640,"h":423},{"t":"p","x":"《云飞云舞》朱静姝","b":false,"xe":"'Clouds Flying, Clouds Dancing' by Zhu Jingshu"},{"t":"h","x":"5","xe":"5"},{"t":"p","x":"透明 所需摄影配件 CPL偏振镜","b":false,"xe":"Transparency — required accessory: CPL polarizer"},{"t":"img","f":"img-13","w":640,"h":426},{"t":"p","x":"《幻海微澜》","b":false,"xe":"'Ripples on a Dream Sea'"},{"t":"p","x":"海水没有浪而且很清透的情况下，海底的岩石错落有致非常漂亮，想要表达海水清透和海底礁石可以利用CPL偏振镜，旋转偏振镜，调整偏振角，消除海水表面光，来实现这种透明的效果。如果同时想兼顾长曝光慢门的表达最好CPL结合堆栈，尽量不要CPL叠加ND,这样对画质的损伤很大。CPL自带两档减光效果，结合堆栈才是模拟长曝光的最佳解决方案。这种CPL对于水面消光，还可以拍摄出船仿佛悬浮在空中的奇幻效果。","b":false,"xe":"When the sea is calm and crystal-clear with beautifully arranged rocks on the seabed, use a CPL polarizer to express that transparency: rotate it to adjust the polarization angle and kill the surface reflections. If you also want the long-exposure look, combine CPL with stacking — avoid stacking a CPL on top of an ND filter, which badly damages image quality. A CPL naturally cuts about two stops; paired with stacking, it's the best way to simulate a long exposure. This reflection-killing CPL can even make boats look as if they're floating in mid-air."},{"t":"img","f":"img-14","w":640,"h":427},{"t":"p","x":"《悬浮》","b":false,"xe":"'Floating'"},{"t":"p","x":"思路拓展","b":false,"xe":"Expanding the Idea"},{"t":"img","f":"img-15","w":640,"h":425},{"t":"p","x":"《佛首望海》","b":false,"xe":"'Buddha Head Gazing at the Sea'"},{"t":"p","x":"有时候风很大，云移动很快，用大于30s的长曝光的曝光手法，也可以把云彩拍成拉丝状，水面会呈现雾化或者镜面化的效果，如果想拍出海水拉丝或者迸溅，云也是拉丝的效果，就需要使用堆栈的拍摄方式，后期结合PS蒙版把两种效果组合在一起，给人更加有冲击力不可思议的效果。","b":false,"xe":"In strong wind with fast-moving clouds, an exposure longer than 30 s can also streak the clouds while the water turns to mist or mirror. If you want streaked or splashing water together with streaked clouds, use stacking: shoot a sequence, then combine the two effects in Photoshop with masks for an even more dramatic, incredible result."},{"t":"img","f":"img-16","w":640,"h":426},{"t":"p","x":"《惊涛拍岸》","b":false,"xe":"'Angry Waves Beating the Shore'"},{"t":"p","x":"这就是之前提到的拍摄迸溅效果5D3报废的场景，1/10s的速度显然不能将云彩拉丝，但是结合堆栈的拍摄方法，连续拍摄100张，后期PS将云彩部分平均值堆栈堆叠，用蒙版擦出抓拍到的浪花迸溅效果最好的一张，就可以得到这样更有冲击力的效果。","b":false,"xe":"This is the scene where I destroyed that 5D Mark III shooting splash, as mentioned earlier. A 1/10 s shutter obviously can't streak the clouds — but with stacking, I shot 100 consecutive frames, averaged the sky portion in post, and masked in the single frame with the best splash. The result is far more impactful."},{"t":"h","x":"结语","xe":"Conclusion"},{"t":"p","x":"海景摄影这五种表达方式通常要配合相应的风光滤镜来完成,ND16是拍摄迸溅和拉丝这两种表达方式经常用的滤镜，ND1000是拍摄雾化或者镜面化经常选择的滤镜，CPL是拍摄透明表达方式必备的滤镜，有时候为了协调光笔RGND反向渐变镜在拍摄海景的时候也经常使用。切忌为了使用滤镜把所有滤镜都用上，要根据场景、浪的形态因地制宜，因时制宜，滤镜只是实现海景慢门特定表达方式的辅助工具，切勿本末倒置。掌握了海景慢门的五种表达方式，配合正确的风光滤镜，相信每位影友都可以拍出这样的大片。","b":false,"xe":"These five seascape expressions usually call for the right filters: ND16 is the go-to for splash and streaking; ND1000 is the common choice for mist and mirror; a CPL is essential for transparency; and a reverse GND is often used to balance the light. Never pile on every filter just because you have them — adapt to the scene and the wave forms. Filters are only aids for particular long-exposure expressions; don't put the cart before the horse. Master the five expressions, pair them with the right filters, and every photographer can make images like these."},{"t":"img","f":"img-17","w":640,"h":351}],"titleEn":"Five Ways to Shoot Long-Exposure Seascapes"}