{"slug":"lr-layers-masks-update","title":"Camera Raw/Lightroom史诗级强化：图层与蒙版！以后修图再也不用PS了？","author":"Thomas看看世界","date":"2021-11-14","wechat":"https://mp.weixin.qq.com/s?__biz=MzI4NDA5MzE5NQ==&mid=2247494225&idx=1&sn=4cabc3ef7f0888b09eede460f1734e8e&chksm=eb821435dcf59d2371eb7576e5fae5225b23eb5e5592d319a2437b39a8dd6e76ddebc4054c98&scene=21#wechat_redirect","blocks":[{"t":"h","x":"Thomas看看世界","xe":"Thomas Chu Photo"},{"t":"p","x":"Camera Raw/Lightroom的局部处理能力得到了很大的强化！","b":false,"xe":"Camera Raw/Lightroom's local adjustment capabilities just got a major power-up!"},{"t":"p","x":"在Camera Raw最近的更新中，蒙版（暗带图层）的功能整合了以前的径向/渐变/画笔等局部调整工具，加上AI加持的选择天空/主体功能，和新的选区加减交叉模式，真的非常的好用。","b":false,"xe":"In a recent Camera Raw update, the Masking feature (with layers built in) merged the former Radial/Graduated/Brush local adjustment tools, added AI-powered Select Sky/Select Subject, and introduced new intersect/add/subtract modes for selections. It's genuinely a joy to use."},{"t":"p","x":"或许以后大部分不复杂的修图，再也不需要打开PS了？","b":false,"xe":"Perhaps most uncomplicated edits will never need Photoshop again?"},{"t":"h","x":"视频教程","xe":"Video Tutorial"},{"t":"bili","bv":"BV15h411b7ib","bpic":"bili-1","bt":"Camera Raw/Lightroom史诗级强化：图层与蒙版！以后修图再也不用PS了？"},{"t":"p","x":"这一篇是上面视频的完整图文整理。Camera Raw 和 Lightroom 的这次更新把原来的径向滤镜、渐变滤镜、画笔等局部工具全部整合进了全新的「蒙版」体系，还带来了 AI 加持的选择天空、选择主体，以及选区之间相加、相减、交叉的新玩法。Thomas 先分析 PS 与 ACR/LR 的优劣，再从老用法讲到新功能的完整实战，下面按视频顺序整理成图文。","xe":"This is the fully illustrated companion to the video above. In this update, Camera Raw and Lightroom fold all the old local tools — radial filter, graduated filter, brush — into a brand-new Masking system, adding AI-powered Select Sky and Select Subject plus add, subtract and intersect modes for selections. Thomas first weighs PS against ACR/LR, then walks from the familiar old workflow to a complete hands-on of the new features, transcribed below in video order."},{"t":"p","x":"视频开头有一张大纲页（视频 0:05 处），三部分结构一目了然：先做 Camera Raw/Lightroom 与 PS 的优劣对比，再看如何像以前一样使用径向与渐变滤镜，最后详解新版蒙版。","xe":"The video opens with an outline slide (at 0:05) that splits neatly into three parts: a PS versus Camera Raw/Lightroom comparison, the familiar radial and graduated filters in their new home, and a deep dive into the new Masking system."},{"t":"img","f":"v01","w":852,"h":480},{"t":"h","x":"01 先想清楚：后期就是选局部与加效果","xe":"01 First Principles: Select Locally, Then Apply Effects"},{"t":"p","x":"摄影后期的工具非常多，但核心操作只有两个：一个叫选择局部，一个叫应用效果。理解了这一点，就能看清 PS 以前的三大优势：第一，选择功能更精细——有通道、快速选择、选择并遮住、钢笔，选区可以建得非常精确；第二，效果功能更丰富——各种调整图层，甚至还有 Nik Collection 这类第三方插件和滤镜；第三，图层、蒙版、通道是一套管理处理步骤的好系统。","xe":"Post-processing has many tools but only two core operations: selecting locally, and applying effects. That lens clarifies Photoshop's three traditional advantages: first, far more precise selections — channels, Quick Selection, Select and Mask, the Pen tool; second, richer effects — adjustment layers of every kind, plus third-party plugins and filters like the Nik Collection; third, layers, masks and channels form a great system for organizing every editing step."},{"t":"p","x":"但 PS 的劣势也明显：太复杂。Camera Raw 则非常简单易用，功能不像 PS 那样还要兼顾设计美术——它只针对摄影后期，留下的都是摄影师会用到的功能；而且方便批量处理，整个后期是无损、可反复调整的模式。","xe":"Photoshop's weakness is equally obvious: it's complicated. Camera Raw is far simpler, and unlike PS it doesn't carry design and illustration baggage — it is built purely for photo editing, so almost everything in it is something a photographer actually needs. It's also convenient for batch processing, and the whole workflow is non-destructive and endlessly adjustable."},{"t":"p","x":"新的蒙版功能，相当于把 PS 的图层和蒙版概念引入了 Camera Raw。它确实让软件变得更复杂了——这也是很多人诟病「没有以前好用」的原因——但它换来的，是局部处理能力的质的提升。后面的实战会证明这一点。","xe":"The new Masking feature essentially brings Photoshop's layers-and-masks concept into Camera Raw. It does make the software more complicated — the main complaint of those who find it less friendly than before — but what it buys in return is a quantum leap in local adjustment power. The hands-on demo below proves it."},{"t":"h","x":"02 老用法不变：所有局部工具住进蒙版","xe":"02 The Old Workflow Survives: Every Local Tool Lives in Masking"},{"t":"p","x":"打开蒙版面板，你会发现熟悉的家当都在：画笔、线性渐变、径向渐变一个不少；原来的色彩范围和亮度范围从渐变工具的子选项升级成了独立入口；列表最上方还多了选择主体和选择天空这两个 AI 选区工具（视频 2:13 处）。","xe":"Open the Masking panel and all the familiar tools are there: Brush, Linear Gradient and Radial Gradient, none missing. Color Range and Luminance Range, formerly buried as sub-options of the gradient tools, are now standalone entries; and at the top of the list sit two new AI options — Select Subject and Select Sky (at 2:13 in the video)."},{"t":"img","f":"v02","w":852,"h":480},{"t":"p","x":"想像以前一样工作完全没问题：比如要把天空压暗，就新建一个线性渐变，从上往下一拉即可。唯一要记住的新规则是——每个蒙版都有自己独立的参数，不同的调整要新建不同的蒙版；比如压暗天空之后还想再做别的局部效果，就得再建一个新蒙版（视频 2:43-3:00 处）。","xe":"Working exactly as before is fine: to darken the sky, create a new Linear Gradient and drag it down from the top. The only new rule to remember — every mask carries its own independent set of parameters, so separate adjustments need separate masks; after darkening the sky, any additional local effect means creating yet another new mask (at 2:43-3:00 in the video)."},{"t":"img","f":"v03","w":852,"h":480},{"t":"h","x":"03 AI 加持：一键选择天空与主体","xe":"03 AI Power: One-Click Sky and Subject Selections"},{"t":"p","x":"新版最明显的两块增量，是选择主体和选择天空这两个 AI 创建途径。先看选择天空：以前用渐变工具压天空，选区其实并不准——特别是天边有礁石交叉的情况，渐变会把礁石也一起压暗；现在点一下选择天空，AI 直接把天空整个选出来。勾上显示叠加（一般用红色显示，和以前的叠加选项一样），可以轻松检查选区边界——这片天空抠得非常好，直接压暗也十分精准（视频 3:21-4:00 处）。","xe":"The two most visible additions are the AI creation paths: Select Subject and Select Sky. Take Select Sky: a gradient used to miss — especially where rocks intersect the horizon, the gradient darkened the rocks along with the sky. Now one click on Select Sky and the AI outlines the entire sky. Tick Show Overlay (usually red, same idea as the old overlay option) to inspect the selection edges — this sky is beautifully cut out, and darkening it lands precisely where it should (at 3:21-4:00 in the video)."},{"t":"img","f":"v04","w":852,"h":480},{"t":"p","x":"选择主体对付的是有人物或明显主体的照片。像下面这张湘西村寨、桥上撑伞行人的片子，以前要把人干净地选出来必须进 PS 抠图；现在在 Camera Raw 里点一下选择主体，主体边缘选得非常好（视频 4:02-4:20 处）。","xe":"Select Subject targets photos with people or obvious subjects. In the riverside village shot below — a walker with an umbrella on the bridge — cleanly selecting the person used to mean a trip to Photoshop for a proper cutout; now it's one click on Select Subject inside Camera Raw, and the edges come out excellent (at 4:02-4:20 in the video)."},{"t":"img","f":"v05","w":852,"h":480},{"t":"h","x":"04 蒙版是容器：选区可相加与相减","xe":"04 A Mask Is a Container: Add and Subtract Selections"},{"t":"p","x":"蒙版之所以要这样组织，是因为一个蒙版里可以放多个选区，并让它们相加、相减或相乘——这才是蒙版真正的意义。比如已经有了一个天空选区，还想让海面也压暗一些：点「添加」再画一个线性渐变，现在这个蒙版里就同时装着天空和海面两块选区，-2.5 的曝光对两块区域同时生效（视频 4:41-5:12 处）。","xe":"The reason masks are organized this way: a single mask can hold multiple selections that add, subtract or intersect — that's the whole point of masks. Say you already have a sky selection and want the sea darkened too: click Add and draw a Linear Gradient; the mask now contains both sky and sea, and a -2.5 exposure adjustment acts on both at once (at 4:41-5:12 in the video)."},{"t":"img","f":"v06","w":852,"h":480},{"t":"p","x":"相减同样有用。整片天空选区直接压暗会很生硬——正常的天空不会从上到下一片黑。这时用「减去」，从选区里减掉一个线性渐变：天空的压暗就从下到上逐步加强，靠近海面的部分几乎不受影响（视频 5:17-5:56 处）。","xe":"Subtracting is just as useful. Darkening the whole sky selection at once looks harsh — a real sky never goes uniformly black. So use Subtract and remove a Linear Gradient from the selection: the darkening now strengthens gradually from bottom to top, leaving the sky near the sea almost untouched (at 5:17-5:56 in the video)."},{"t":"img","f":"v07","w":852,"h":480},{"t":"p","x":"对比一下有无这道渐变的区别：只有天空选区时，压暗特别不自然；减去渐变之后，压暗有了由弱到强的过渡，效果自然得多（视频 6:15-6:35 处）。以后压暗天空的标准公式就是：先选择天空，再用一个渐变去「整形」。","xe":"Compare with and without that gradient: with the sky selection alone the darkening looks distinctly unnatural; after subtracting the gradient it gains a smooth weak-to-strong transition (at 6:15-6:35 in the video). The standard recipe for darkening skies is now: Select Sky first, then shape the effect with a gradient."},{"t":"img","f":"v08","w":852,"h":480},{"t":"h","x":"05 交叉相乘：三道筛子选出礁石暗部","xe":"05 Intersect Mode: Three Sieves Isolate the Reef's Shadows"},{"t":"p","x":"要提醒的是：每个蒙版都有独立的参数，蒙版之下的多个选区共同合成蒙版的最终选区、共享同一组调整；所以想做另一种效果，就要新建一个蒙版。实战目标：把画面中央礁石的暗部压黑一点、再加些冷色（视频 6:36-7:18 处）。","xe":"One reminder: each mask owns its parameters, and the selections inside a mask merge into the mask's final selection sharing one set of adjustments — so a different effect means a new mask. The goal of this exercise: darken the shadows of the central sea stack a touch and cool them down (at 6:36-7:18 in the video)."},{"t":"p","x":"第一步，新建蒙版并点选择主体：AI 非常精准地选中了礁石。把它压暗、偏冷之后发现问题——整块礁石都变冷了，而我们只想要暗部变冷（视频 7:20-7:41 处）。","xe":"Step one: create a mask and hit Select Subject — the AI nails the reef. After darkening and cooling it, the problem shows up: the entire reef went cold, when only the shadows should have (at 7:20-7:41 in the video)."},{"t":"img","f":"v09","w":852,"h":480},{"t":"p","x":"第二步用交叉（相乘）。注意这不是「添加」或「减去」，而是组件菜单里的「与蒙版交叉」——交叉意味着新的选区会和之前的选区做逻辑与，一道道筛下去。先交叉一个亮度范围、只保留暗部，羽化幅度等参数都可调；现在效果只作用于礁石的暗部，由主体选区和明亮度选区共同决定（视频 7:42-8:27 处）。","xe":"Step two: intersect (multiply). Not Add, not Subtract — the component menu's Intersect with Mask. Intersecting means the new selection is AND-ed with everything before it, sieving layer by layer. First intersect a Luminance Range keeping only the shadows, with feather and range adjustable; the effect now touches only the reef's dark areas, defined jointly by the subject selection and the luminance selection (at 7:42-8:27 in the video)."},{"t":"img","f":"v10","w":852,"h":480},{"t":"p","x":"第三步再筛一道：礁石靠近天边的那部分才最该压黑、压蓝，所以继续交叉一个径向渐变，范围只罩住礁石上部、羽化拉大。最终减曝光和降色温只作用于「主体 ∩ 暗部 ∩ 礁石上部」这一小块区域——选区精准到这种程度，就是新蒙版体系的价值（视频 8:29-9:58 处）。","xe":"Step three, one more sieve: only the part of the reef nearest the horizon deserves the dark, cool treatment, so intersect a Radial Gradient covering just the stack's upper section with a wide feather. The negative exposure and cooler temperature now land only on subject ∩ shadows ∩ upper reef — selections this precise are what the new masking system is for (at 8:29-9:58 in the video)."},{"t":"img","f":"v11","w":852,"h":480},{"t":"quote","x":"1. 后期核心只有两件事：选择局部、应用效果；PS 赢在选区精细、效果丰富、图层蒙版好管理，ACR/LR 赢在简单、专注摄影、批量与无损；2. 新蒙版体系整合了全部局部工具，老用法照旧，但记住每个蒙版参数独立；3. AI 的选择天空、选择主体一键生成精准选区，配合显示叠加随时检查；4. 蒙版是容器：选区可相加、相减，组件菜单里还能交叉（相乘）——主体、亮度范围、径向渐变层层相筛，就能选出「礁石暗部」这种级数的精准目标。","xe":"1. Post-processing boils down to selecting locally and applying effects; PS wins on precise selections, rich effects and layer/mask organization, while ACR/LR win on simplicity, photo focus, batch work and non-destructive editing; 2. The new masking system houses every local tool, the old workflow still works, and each mask keeps its own parameters; 3. AI Select Sky and Select Subject generate precise selections in one click, with Show Overlay to verify anytime; 4. A mask is a container: selections can add and subtract, and the component menu offers Intersect (multiply) — subject ∩ luminance range ∩ radial gradient sieves out targets as specific as a reef's shadows."},{"t":"h","x":"欢迎关注托马斯的旅行与摄影攻略","xe":"Follow Thomas for more travel and photography tips"}],"titleEn":"Epic Upgrade for Camera Raw/Lightroom: Layers and Masks — No More Photoshop?"}