{"slug":"midday-top-light-photos","title":"谁说中午不能拍大片？正午顶光摄影思路分享！","author":"Thomas看看世界","date":"2023-07-23","wechat":"https://mp.weixin.qq.com/s?__biz=MzI4NDA5MzE5NQ==&mid=2247497840&idx=2&sn=bf84b59126699add08f48069d5328d0d&chksm=eb820614dcf58f02a9c5016947f993ea507493a48f285d0f7f60e8ad0841bf2a59f64bbfc7bd&scene=21#wechat_redirect","blocks":[{"t":"p","x":"正午顶光被很多摄影爱好者称为“死亡光线”，远不如日出日落黄金光线那么好拍。","b":false,"xe":"Midday top light is called 'death light' by many enthusiasts — far less shootable than the golden light of sunrise and sunset."},{"t":"p","x":"但其实把握住中午光线的色彩和光影特点，很多场景反而中午拍更好看！","b":false,"xe":"But in fact, once you grasp the color and light-shadow characteristics of noon light, many scenes actually look better shot at noon!"},{"t":"img","f":"img-01","w":1080,"h":608},{"t":"p","x":"在今天的摄影教程中，Thomas就会用大量中午光线的经典照片为例，拓展大家的思路，以后大家中午出门也能出片啦！","b":false,"xe":"In today's tutorial, Thomas will use many classic photos taken in midday light to expand your thinking — so next time you head out at noon, you can still come home with keepers!"},{"t":"h","x":"视频","xe":"Video"},{"t":"bili","bv":"BV1zN411m7Kj","bpic":"bili-1","bt":"谁说中午不能拍大片？正午顶光摄影思路分享！"},{"t":"p","x":"这一篇是上面视频的图文整理。「中午顶光是死亡光线」大概是摄影入门时听过最多的告诫，但进阶之后你会发现，很多摄影大师恰恰偏爱顶光——街头、人像、风景都有。Thomas 用大量正午拍摄的经典照片，把中午光线的特点与扬长避短的思路讲了一遍，本文配上视频关键帧截图，整理成图文。","xe":"This is the illustrated companion to the video above. \"Never shoot at noon\" is probably the first warning every beginner hears — yet past a certain level you find many masters deliberately love top light, in street work, portraits and landscapes alike. Using a wealth of classic midday photographs, Thomas explains the character of noon light and how to play to its strengths; this article reorganizes that into text with keyframe screenshots."},{"t":"img","f":"v01","w":852,"h":480},{"t":"h","x":"01 特点一：色彩浓郁，互补色当主角","xe":"01 Trait One: Saturated Color, Led by Complementary Pairs"},{"t":"p","x":"正午阳光的第一个特点是色彩非常浓郁，这是一个值得主动突出的优点（视频 0:58 处）。马丁·帕尔照片里蓝色的毛巾与黄色的皮肤，就是一对反差极大的互补色；蓝天与向日葵的黄、黄裙与蓝海，都是同一路数——蓝黄互补在正午的阳光下格外浓烈。","xe":"The first trait of noon sun is intensely saturated color — an advantage worth playing up deliberately (at 0:58 in the video). In Martin Parr's photographs, the blue towel against yellowed skin is a hugely contrasting complementary pair; blue sky against sunflowers, a yellow dress against a blue sea — all the same move. Blue-yellow complements turn especially punchy under midday sun."},{"t":"img","f":"v02","w":852,"h":480},{"t":"img","f":"v03","w":852,"h":480},{"t":"img","f":"v04","w":852,"h":480},{"t":"p","x":"除了蓝黄，还有红绿互补，甚至一张照片里同时放上橙蓝、红绿两组互补色的「双互补」配色（视频 2:27 处）。Thomas 自己的海边照片也是同理：正午的大海蓝得格外纯粹，配上沙滩、鲜艳的小艇和人物，影子又少，色彩丰富的场景正午拍反而更有味道。海滩题材则一定要抓到穿着奇特衣服的人物、水面粼粼的反光、红色的指甲、五颜六色的海星和鲜艳的水底颜色——这些色彩正是中午照片出彩的关键。","xe":"Beyond blue-yellow there is red-green, and even \"double complements\" — orange-blue plus red-green inside one frame (at 2:27 in the video). Thomas's own seaside picture works the same way: at noon the sea turns an especially pure blue, and paired with the sand, vivid boats and people, with barely any shadows, a color-rich scene actually gains character at midday. For beach shots, hunt for eccentric outfits, sparkling water reflections, red fingernails, multicolored starfish and bright underwater tones — such color is exactly what makes noon photographs sing."},{"t":"img","f":"v05","w":852,"h":480},{"t":"img","f":"v14","w":852,"h":480},{"t":"h","x":"02 特点二：阴影小而反差高，人脸要绕行","xe":"02 Trait Two: Small but Harsh Shadows — Route Around the Face"},{"t":"p","x":"正午阴影位于物体下方、面积小但反差高，用在人脸上就是灾难：眼眶和鼻子下方会出现浓重的阴影，也就是所谓的「熊猫眼」和阴阳脸（视频 3:54 处）。第一规避法：中午拍人像可以不拍脸——只拍身体和姿态，自然避开阴阳脸；同时让服装和背景的色彩鲜艳起来，突出色彩正好配合正午光线。","xe":"At noon, shadows fall directly beneath objects — small in area but harsh in contrast, and on a face that is a disaster: heavy shading in the eye sockets and under the nose, the classic \"panda eyes\" and split lighting (at 3:54 in the video). First workaround: at midday, don't shoot the face — photograph body and gesture instead, which sidesteps split lighting entirely; and push wardrobe and background color toward the vivid, letting color lead in partnership with the hard light."},{"t":"img","f":"v06","w":852,"h":480},{"t":"p","x":"第二规避法：让人物朝着太阳的方向仰视，或者干脆躺在地上（视频 4:32 处）。这时太阳对脸变成了顺光，正好克服顶光造成的眼眶凹陷，配合放松惬意的状态和正午的浓烈色彩，效果很好。如果正午光线带有一点倾角，既可以面向阳光，也可以背对阳光——背对时整张脸都在阴影里，同样干净、没有杂乱的光斑。","xe":"Second workaround: have the subject face the sun, tilting the head up or simply lying down (at 4:32 in the video). The sun then strikes the face frontally, canceling the sunken-eye look of top light — pair it with a relaxed, at-ease pose and the saturated noon palette. When the noon sun carries a slight angle, the subject can face it or turn away from it — with their back to the sun the whole face sits in shadow, equally clean and free of stray highlights."},{"t":"img","f":"v07","w":852,"h":480},{"t":"p","x":"第三规避法是找道具（视频 5:39 处）：把人物的脸放进树的阴影里，只让衣服保留高光并做强化，呈现一种闪亮的质感——这正是正午给我们的「非常亮」的舒适感受；或者用树冠挡住半张脸，画面至少不再杂乱。","xe":"The third workaround is props (at 5:39 in the video): place the face inside the shadow of a tree while letting the clothing keep — even boost — its highlights for a gleaming texture, which is exactly the bright, comfortable feeling noon gives; or let the canopy mask half the face, so the picture at least loses its clutter."},{"t":"h","x":"03 特点三：没有层次，就做扁平","xe":"03 Trait Three: No Depth? Go Flat"},{"t":"p","x":"正午光线来自头顶，所有物体都处在同样的光照下，层次感确实不强（视频 6:15 处）——不像清晨傍晚的「日照金山」或逆光，远近明暗各不相同。但没层次不等于不好：可以把它做成卡通色调、二维平面画的感觉，效果同样很棒；正午也特别适合拍户外近景——小景、干净的背景、浓郁的色彩，呈现出一种扁平化的图标效果。","xe":"Noon light comes from overhead and everything shares the same illumination, so tonal depth genuinely suffers (at 6:15 in the video) — unlike the alpenglow of early morning or backlighting, where near and far differ in brightness. But a lack of depth is not a defect: render it as a cartoon palette, a two-dimensional picture-book feel, and the result is delightful; noon also suits outdoor close-ups — small scenes, clean backgrounds, saturated colors — producing a flattened, icon-like look."},{"t":"img","f":"v08","w":852,"h":480},{"t":"p","x":"正午还特别适合拍摄大片式的背景环境（视频 7:25 处）：一片沙滩、一个停车场、一片水面上突然出现的一个物体——游泳的人、漂浮的椅子、甚至一个创意的荷包蛋泳圈，都因为顶光下没有杂乱影子而格外醒目。Thomas 自己那张本身层次丰富的照片就是中午赶到才碰上好天气，于是干脆调成卡通色调、做扁平处理，依然成立；网上很火的摄影师 Terrissa 也有不少这样的作品——我们当废片扔掉的中午照片，调成扁平感仍然可用。","xe":"Noon also excels at big, graphic environment shots (at 7:25 in the video): a beach, a parking lot, a sheet of water with a single sudden object — a swimmer, a floating chair, even a witty fried-egg float — all stand out because top light casts no messy shadows. Thomas's own layered valley scene was shot at noon simply because the weather turned then, so he leaned in: a cartoon grade, a flattened treatment, and it still works. The wildly popular photographer Terrissa has many such images — the noon shots we might discard can be rescued into flat, graphic pictures."},{"t":"img","f":"v09","w":852,"h":480},{"t":"img","f":"v10","w":852,"h":480},{"t":"h","x":"04 用影子和色彩把层次找回来","xe":"04 Recovering Depth with Shadows and Color"},{"t":"p","x":"正午唯一能呈现层次的东西是影子（视频 8:28 处），尤其是树影、房屋的影子。仰拍树的背光背影，让背光照亮的树叶与深色树影形成层次；善于利用建筑画框、火车车窗画框的摄影师，则用「外亮内暗」制造明暗对比；卡通色调的照片也常找树荫或房影做一块很暗的区域，给画面增加明暗层次。","xe":"The one depth-giver at noon is shadow (at 8:28 in the video), especially tree and building shadows. Shoot up into a backlit tree so its glowing leaves play against the dark silhouette; photographers fond of architectural or train-window frames use a bright exterior against a dark interior; and even cartoon-toned pictures often place a patch of shade as the darkest region, restoring light-and-dark structure to the frame."},{"t":"img","f":"v11","w":852,"h":480},{"t":"img","f":"v12","w":852,"h":480},{"t":"p","x":"另一个办法是让色彩去分层，而不是靠明暗（视频 9:28 处）：樱花的粉、草地的绿、背后整片蓝天，一张照片分成干净的三层。用鲜艳的色彩给画面分层，同样是正午拍摄的重要方法——顶光给了你饱和度，你就要用色彩把结构搭起来。","xe":"The other method is layering with color instead of luminance (at 9:28 in the video): the pink of cherry blossoms, the green of grass, and a whole sky of blue behind — one frame, cleanly split into three bands. Building structure from vivid color is a core noon technique: top light hands you saturation, so let color do the composing."},{"t":"img","f":"v13","w":852,"h":480},{"t":"quote","x":"1. 正午光线三大特点：色彩浓郁、阴影小而反差高、光线来自上方层次感弱——逐一对症下药，中午照样出大片；2. 用浓郁色彩做文章：黄蓝、红绿乃至双互补配色，抓鲜艳的服装与物体，让互补色对撞成为画面主角；3. 人脸避坑三板斧：不拍脸拍身体、面朝太阳仰视或躺下变顺光、用树影等道具藏脸；4. 层次弱就转扁平：卡通色调、图标式近景、大片环境加单个物体，再用影子和色彩分层把结构找回来。","xe":"1. Noon light has three traits — saturated color, small-but-harsh shadows, overhead light with little depth — and each calls for its own countermove; great midday pictures are entirely possible; 2. Work the saturated color: blue-yellow, red-green, even double complementary schemes; hunt vivid outfits and objects and let the clash of complements star; 3. Three face-saving moves: shoot the body not the face, face the sun — tilting up or lying down — to turn it frontal light, or hide the face in tree shadow and other props; 4. Where depth is weak, go flat: cartoon grades, icon-like close-ups, big environments with one lone object — then rebuild structure with shadows and color banding."},{"t":"h","x":"PPT","xe":"PPT"},{"t":"img","f":"img-02","w":1080,"h":608},{"t":"img","f":"img-03","w":1080,"h":608},{"t":"img","f":"img-04","w":1080,"h":608},{"t":"img","f":"img-05","w":1080,"h":608},{"t":"img","f":"img-06","w":1080,"h":608},{"t":"img","f":"img-07","w":1080,"h":608},{"t":"img","f":"img-08","w":1080,"h":608},{"t":"img","f":"img-09","w":1080,"h":608},{"t":"img","f":"img-10","w":1080,"h":608},{"t":"img","f":"img-11","w":1080,"h":608},{"t":"img","f":"img-12","w":1080,"h":608},{"t":"img","f":"img-13","w":1080,"h":608},{"t":"img","f":"img-14","w":1080,"h":608},{"t":"img","f":"img-15","w":1080,"h":608},{"t":"img","f":"img-16","w":1080,"h":608},{"t":"img","f":"img-17","w":1080,"h":608},{"t":"img","f":"img-18","w":1080,"h":608},{"t":"img","f":"img-19","w":1080,"h":608},{"t":"img","f":"img-20","w":1080,"h":608},{"t":"img","f":"img-21","w":1080,"h":608},{"t":"img","f":"img-22","w":1080,"h":608},{"t":"img","f":"img-23","w":1080,"h":608},{"t":"img","f":"img-24","w":1080,"h":608},{"t":"img","f":"img-25","w":1080,"h":608},{"t":"img","f":"img-26","w":1080,"h":608},{"t":"img","f":"img-27","w":1080,"h":608},{"t":"img","f":"img-28","w":1080,"h":608},{"t":"img","f":"img-29","w":1080,"h":608},{"t":"img","f":"img-30","w":1080,"h":608},{"t":"img","f":"img-31","w":1080,"h":608},{"t":"img","f":"img-32","w":1080,"h":608},{"t":"img","f":"img-33","w":1080,"h":608},{"t":"img","f":"img-34","w":1080,"h":608},{"t":"img","f":"img-35","w":1080,"h":608},{"t":"img","f":"img-36","w":1080,"h":608},{"t":"img","f":"img-37","w":1080,"h":608},{"t":"img","f":"img-38","w":1080,"h":608},{"t":"img","f":"img-39","w":1080,"h":608},{"t":"img","f":"img-40","w":1080,"h":608},{"t":"img","f":"img-41","w":1080,"h":608},{"t":"img","f":"img-42","w":1080,"h":608},{"t":"img","f":"img-43","w":1080,"h":608},{"t":"img","f":"img-44","w":1080,"h":608},{"t":"img","f":"img-45","w":1080,"h":608},{"t":"img","f":"img-46","w":1080,"h":608},{"t":"img","f":"img-47","w":1080,"h":608},{"t":"img","f":"img-48","w":1080,"h":608},{"t":"img","f":"img-49","w":1080,"h":608},{"t":"img","f":"img-50","w":1080,"h":608},{"t":"img","f":"img-51","w":1080,"h":608},{"t":"img","f":"img-52","w":1080,"h":608},{"t":"img","f":"img-53","w":1080,"h":608},{"t":"img","f":"img-54","w":1080,"h":608},{"t":"img","f":"img-55","w":1080,"h":608},{"t":"img","f":"img-56","w":1080,"h":608},{"t":"img","f":"img-57","w":1080,"h":608},{"t":"img","f":"img-58","w":1080,"h":608},{"t":"img","f":"img-59","w":1080,"h":608},{"t":"img","f":"img-60","w":1080,"h":608},{"t":"img","f":"img-61","w":1080,"h":608},{"t":"img","f":"img-62","w":1080,"h":608},{"t":"img","f":"img-63","w":1080,"h":608},{"t":"img","f":"img-64","w":1080,"h":608},{"t":"img","f":"img-65","w":1080,"h":608},{"t":"img","f":"img-66","w":1080,"h":608},{"t":"img","f":"img-67","w":1080,"h":608},{"t":"img","f":"img-68","w":1080,"h":608}],"titleEn":"Who Says You Can't Shoot at Noon? Ideas for Harsh Top Light Photography"}