{"slug":"monochrome-awards-2020","title":"顶级黑白照片长啥样？黑白摄影大赛获奖作品欣赏分析","author":"Thomas看看世界","date":"2021-08-15","wechat":"https://mp.weixin.qq.com/s?__biz=MzI4NDA5MzE5NQ==&mid=2247493804&idx=1&sn=50942e5c4c8cb4d2c540963c1232cb04&chksm=eb8216c8dcf59fdeb4ec074fa032ffca87da2b54eaffe398edaa2111f5ed9841039500fa3977&scene=21#wechat_redirect","blocks":[{"t":"h","x":"Thomas看看世界","xe":"Thomas Chu Photo"},{"t":"p","x":"黑白照片相比彩色照片有何优势？黑白照片在取景、构图、拍摄、后期时有何技巧？","b":false,"xe":"What advantages do black-and-white photos have over color photos? What techniques are there for black-and-white photography in framing, composition, shooting, and post-processing?"},{"t":"p","x":"今天的摄影教程中，Thomas会和大家分享一些2020年世界黑白摄影大赛的获奖作品，思考和分析摄影师们在黑白影调构造上的思路和技巧。","b":false,"xe":"In today's photography tutorial, Thomas will share some winning works from the 2020 International Monochrome Photography Awards, and reflect on and analyze the photographers' thinking and techniques in constructing black-and-white tonality."},{"t":"h","x":"视频教程","xe":"Video tutorial"},{"t":"bili","bv":"BV1Kv411T7Dw","bpic":"bili-1","bt":"顶级黑白照片长啥样？黑白摄影大赛获奖作品欣赏分析"},{"t":"p","x":"这一篇是上面视频的完整图文整理。Thomas 打开了世界黑白摄影大赛（Monochrome Photography Awards）2020 年的获奖画廊，逐张分析优秀黑白作品的拍摄思路与后期手法：黑白摄影的反差优势、一张雨中街景的完整参数解读、黑白分明的色块意识、影调塑造的常用套路，以及雾气雨夜的情绪渲染。文章配有关键帧截图，方便对照理解。","xe":"This is the fully illustrated companion to the video above. Thomas opens the winners' gallery of the 2020 Monochrome Photography Awards and analyzes award-winning black-and-white works one by one: the contrast advantage of B&W, a complete parameter breakdown of a rainy street scene, the mindset of clean tonal blocks, standard tonal-shaping moves, and the mood rendering of fog and rainy nights. Keyframe screenshots throughout make the ideas easy to follow.","b":false},{"t":"p","x":"先看总览。Thomas 是直接在大赛官网的获奖画廊里右键保存作品，再到 Camera RAW 中打开分析的——图片上保留的作者名字与拍摄参数，正是下文拆解的线索（视频 0:21 处）。","xe":"Start with the overview. Thomas saved the works directly from the awards website's winners gallery and reopened them in Camera RAW for analysis — the photographer's name and EXIF parameters printed on each file are exactly the clues unpacked below (at 0:21 in the video).","b":false},{"t":"img","f":"v01","w":768,"h":480},{"t":"h","x":"01 黑白摄影的反差优势","xe":"01 The Contrast Advantage of Black and White"},{"t":"p","x":"以视频 0:56 处这张火山喷发作品为例：黑白照片有一个彩色照片做不到的点，就是反差对比可以做得非常强。如果是一张彩色照片，把背后的蓝天压到这么黑，看起来会非常不自然；而黑白照片没有色彩，它本来就是相对于现实世界的一种抽象，所以把影调做更极致、更夸张的调整，眼睛也能够接受（视频 1:16 处）。","xe":"Take the erupting-volcano photograph at 0:56 in the video: black and white can do something color cannot — push contrast to extremes. In a color photo, darkening the blue sky this much would look thoroughly unnatural; a B&W image carries no color at all and is by nature an abstraction of the real world, so far more extreme, exaggerated tonal adjustments still read as credible to the eye (at 1:16 in the video).","b":false},{"t":"p","x":"用吸管在画面上取样，右上角直方图上方会显示 RGB 值（视频 1:37 处）：这张照片的天空亮度只有 19-20，是非常深的黑；一过渡到云的位置马上就是 225，接近纯白——反差大到你一眼就能看到云从背后的天空以及大海里反差出来。","xe":"Sampling with the eyedropper, the RGB readout appears above the histogram (at 1:37 in the video): the sky in this frame sits at only 19-20 — a very deep black — while the cloud jumps straight to 225, near pure white. The contrast is so wide that the cloud leaps out of both the sky behind it and the sea below at first glance.","b":false},{"t":"img","f":"v02","w":768,"h":480},{"t":"h","x":"02 参数背后的拍摄思路","xe":"02 The Thinking Behind the Settings"},{"t":"p","x":"视频 2:02 处这张雨中街景给我们很多启发。如果直接去拍十字路口，画面可能平平无奇，但这位作者找到了旁边的一座玻璃建筑，让场景被切割成许许多多的反射面，整个照片的空间结构一下子变得特别有意思（视频 2:17 处）。","xe":"The rainy street scene at 2:02 in the video is full of lessons. Shot head-on at the intersection the scene would be unremarkable, but the photographer used a glass building nearby, slicing the scene into a multitude of reflective facets — and the spatial structure of the photograph instantly becomes fascinating (at 2:17 in the video).","b":false},{"t":"img","f":"v03","w":768,"h":480},{"t":"p","x":"它的参数是 ISO 800、35mm、F13、1/13 秒（视频 2:30 处），乍看很奇怪，其实每个数字都有理由：为什么 ISO 800？因为雨天光线比较暗。为什么 F13？这些玻璃结构看起来在一个平面上，其实带有倾斜，F 值不够的话有的反射面就会特别糊。","xe":"The settings are ISO 800, 35mm, F13, 1/13 s (at 2:30 in the video) — odd at first glance, but every number has a reason. Why ISO 800? Rainy days are dim. Why F13? The glass facets only appear to lie in one plane but are actually tilted, and an insufficient f-stop would leave some reflections mushy.","b":false},{"t":"p","x":"为什么要 1/13 秒？Thomas 认为作者是想构造动静对比（视频 3:06 处）：曝光太长，人流会糊成一片；快到 1/100 秒，所有地方都清晰。而这张照片里车是模糊的，行人有的虚、有的实——动静结合让繁忙的雨天气氛一下子出来了，整张照片也是亮暗部高对比的状态。","xe":"And why 1/13 s? Thomas reads it as a deliberate motion contrast (at 3:06 in the video): too long an exposure smears the crowds into one blur; at 1/100 s everything freezes sharp. Here the car is blurred while pedestrians are a mix of soft and crisp — that interplay of stillness and movement conjures the busy rainy-day atmosphere, all held in a high-contrast light-and-dark scheme.","b":false},{"t":"h","x":"03 色块意识与主体分离","xe":"03 Tonal Blocks and Separating the Subject"},{"t":"p","x":"把优秀黑白照片缩到很小的缩略图来看（视频 3:51 处），你会很明显地感觉到：它们大多黑白非常分明，黑的地方、白的地方、灰的地方各自成块，边界清晰。视频 4:13 处这张闪电照片最明显——闪电区域是 250 左右接近纯白的亮度，两边是灰色天空的过渡，上面的云是亮灰，下面的地面又是一个整体，整张图基本就是四五个大色块，明暗分布非常突出。","xe":"Shrink great black-and-white photos into thumbnails (at 3:51 in the video) and one trait leaps out: blacks, whites and grays stay clearly separated, each forming coherent blocks with clean boundaries. The lightning photograph at 4:13 in the video is the clearest case — the bolt itself sits near pure white at around 250, flanked by the graduated gray of the sky, light-gray cloud above, and the ground below holding together as one mass. The whole picture is essentially four or five large tonal blocks with unmistakable distribution of light and dark.","b":false},{"t":"img","f":"v04","w":768,"h":480},{"t":"p","x":"视频 4:50 处这张作品则找到了一个非常好的几何结构构图：暗面、亮面、暗亮交界的条面依次排列，亮暗不断交替，看起来非常有层次。","xe":"The work at 4:50 in the video builds on an excellent geometric composition: dark fields, bright fields and the transitional bands where they meet stack in sequence, light and dark alternating — deeply layered to the eye.","b":false},{"t":"img","f":"v05","w":768,"h":480},{"t":"p","x":"主体从背景里分离出来，是黑白照片层次的关键（视频 5:12 处）：人背景是亮的，人一下子就明显；黑的树后面是亮的背景，树立刻突出；雪山的顶端那么亮，就是因为背景是暗的。视频 5:50 处这张照片里，树被灯光照亮，树身亮度 96、背后只有 3，黑白分明到极致。反过来，视频 6:00 处的星空剪影也是同样原理。","xe":"Separating the subject from its background is the key to layering in B&W (at 5:12 in the video): a figure against a bright background pops instantly; a black tree in front of a light backdrop stands out at once; a snow-capped summit glows precisely because the sky behind it is dark. At 5:50 in the video, a tree lit by a lamp reads 96 while its surround sits at 3 — separation carried to the extreme. The starry-night silhouette at 6:00 in the video runs on the same principle.","b":false},{"t":"img","f":"v06","w":768,"h":480},{"t":"h","x":"04 后期影调的塑造","xe":"04 Shaping Tone in Post"},{"t":"p","x":"黑白照片的后期影调塑造非常重要，无论胶片暗房还是数码后期都是如此（视频 6:49 处）——黑白最有优势的一点，就是明暗可以比彩色照片更夸张。拍摄时最好选侧光环境，这样才有明暗的立面；后期把整体压成暗调，再把想表现的地方提亮，层次才会出来（视频 7:02 处）。","xe":"Tonal shaping in post is essential to black and white — as true for the film darkroom as for digital (at 6:49 in the video) — and B&W's greatest advantage is that its brightness range can be even more exaggerated than color's. Shoot in sidelight so your subject has lit and shadowed faces; then in post press the whole frame into a low-key base and lift what you want to feature — that is how layering emerges (at 7:02 in the video).","b":false},{"t":"img","f":"v07","w":768,"h":480},{"t":"p","x":"也有反过来的做法：背景整体是亮部、亮灰色，而要突出的部分是很暗的颜色——明暗差距一定要拉开（视频 7:19 处）。Thomas 在视频 6:15 处用一张暗调雪山演示了技术细节：两边用渐变或 HSL 压暗，中间的亮部用镜像渐变轻轻提亮，太阳附近再稍稍提亮一点就会特别突出——他强调这里只是演示手法，自己原来的亮度其实是最舒服的。这类暗调雪山他以前做过很多案例，感兴趣可以去搜相关教程。","xe":"The inverse works too: keep the background globally bright — a light gray — and make the subject very dark; the gap between light and dark must be pulled wide (at 7:19 in the video). At 6:15 in the video Thomas demonstrates the mechanics on a low-key snow mountain: darken both sides with gradients or HSL, lift the bright center with a radial gradient, and nudge the area near the sun a touch brighter to make it sing — stressing that this is only a demonstration, since the original values were already the most pleasing. He has published many low-key mountain case studies before, worth searching out.","b":false},{"t":"img","f":"v08","w":768,"h":480},{"t":"p","x":"视频 7:39 处的布拉格照片是暗调层次的范本：很多人在同一个机位拍过，但这张暗得很有层次——最黑的部分是前景建筑与灯，次灰的部分中间点缀着亮点，画面中最亮的是灯光；后面的深灰色比前面的雕像亮、又比天空暗，明暗交界的色块切割非常明显。视频 9:24 处的作品同理：天空和城堡虽然都是偏暗的灰色，但城堡比天空更暗，层次就是这样出来的。这种手法也叫明度建筑，Thomas 以前有相关教程。","xe":"The Prague photograph at 7:39 in the video is a model of low-key layering: countless people have shot from that same spot, yet this frame is dark with genuine depth — the deepest blacks in the foreground architecture and lamps, mid-grays dotted with bright points, the lamps themselves the brightest element, and the deep gray behind reading lighter than the statue in front yet darker than the sky. The tonal block carving at the light-dark boundaries is unmistakable. The work at 9:24 in the video applies the same logic: sky and castle are both dim grays, but the castle sits darker than the sky — and that difference is the layering. This school of processing is known as luminosity architecture; Thomas has covered it in earlier tutorials.","b":false},{"t":"img","f":"v09","w":768,"h":480},{"t":"h","x":"05 雨夜雾气的情绪渲染","xe":"05 Mood Rendering: Rain, Night and Fog"},{"t":"p","x":"黑白照片经常用雾气与天气来渲染画面（视频 8:20 处）。拍城市夜雨尤其出效果：人的脸为什么会有光？除了现场打到的环境光，后期强化功不可没（视频 8:34 处）。整张照片遵循暗调基调，画面整体偏暗，然后把要突出的地方——路灯、车灯、雨点、人脸的质感——适当渲染提亮，夜晚的情绪就出来了（视频 8:52 处）。","xe":"Black and white leans on fog and weather to set its scenes (at 8:20 in the video), and nothing pays off like a city in night rain. Why do faces carry light? Beyond the ambient light on site, post-processing deserves much of the credit (at 8:34 in the video). Keep the whole frame low-key, then selectively render and lift what matters — streetlamps, headlights, raindrops, the texture of a face — and the mood of the night materializes (at 8:52 in the video).","b":false},{"t":"img","f":"v10","w":768,"h":480},{"t":"p","x":"更进一步，还可以主动给镜头做减法：镜头上沾些水滴，或者故意涂抹一些凡士林之类的东西把画面弄花，再去拍雨雾场景，会非常有情绪（视频 9:53 处）。雾气、雨夜、颗粒、玻璃上的水泡，这种朦胧的感觉都是黑白摄影渲染情绪的好素材。","xe":"Go further and degrade the lens on purpose: a few water drops, or a dab of petroleum jelly smeared on the front element, softens the whole frame — shoot rain and fog through it and the mood is immediate (at 9:53 in the video). Fog, rainy nights, grain, bubbles on glass — haze in all its forms is prime material for emotional rendering in B&W.","b":false},{"t":"img","f":"v11","w":768,"h":480},{"t":"p","x":"视频 10:07 处的雾景电线杆作品，作者的观察力尤其值得学习：这样的场景从其他角度看过去可能非常普通，但他发现了三根电线杆一偏右、一直立的排列关系，又选了一个略有雾气的阴天，后期做出由暗到亮的递进——最黑的一定是前景，远处电线杆深灰渐朦胧，更远的树是亮灰、隐隐约约，天空是最亮的灰，画面中还有最亮的部分负责做反差（视频 10:44 处）。同样思路的视频 7:32 处那张水流作品，把动感模糊和景深也拍了进来，非常有创意。","xe":"The foggy power-line photograph at 10:07 in the video is above all a lesson in observation: from any other angle the scene would be utterly ordinary, but the photographer spotted how three poles align — one leaning right, one upright — chose a misty overcast day, and built a dark-to-bright progression in post: the foreground is always blackest, the farther poles fade into hazy mid-gray, the distant trees a faint light gray, the sky the brightest gray of all, with the brightest element in frame reserved for contrast (at 10:44 in the video). The rushing-water frame at 7:32 in the video follows the same spirit, folding motion blur and depth of field into one very creative image.","b":false},{"t":"img","f":"v12","w":768,"h":480},{"t":"p","x":"看这些获奖作品时，Thomas 的建议是：一定要去分析它们的构图，分析作者为什么选择在雨天、雾天这样的天气里拍摄，分析他们的手法（视频 11:06 处）；有的作品保留了拍摄参数，就想一想为什么要 ISO 800、为什么 F13、为什么 1/13 秒。多思考、弄明白背后的原理、弄明白后期做了哪些反差处理，才会对自己拍照片有所帮助。","xe":"When browsing award-winning work, Thomas's advice is to always analyze the composition, ask why the photographer chose rain or fog, and study the technique (at 11:06 in the video). When a file keeps its EXIF, interrogate it: why ISO 800, why F13, why 1/13 s. Think hard, uncover the principle behind each decision and the contrast work done in post — that is what actually improves your own photographs.","b":false},{"t":"quote","x":"1. 黑白是现实的抽象，明暗可以比彩色更夸张，高反差是它最锋利的武器；2. 遇到保留参数的好作品，逐个追问 ISO、光圈、快门背后的原因，参数里藏着拍摄思路；3. 优秀黑白照片缩略图看色块：黑白灰各自成块、边界分明，主体靠明暗差从背景中分离；4. 后期先定整体基调（暗调或亮灰），再提亮主体，配合雾气雨夜与镜头涂花渲染情绪。","xe":"1. Black and white is an abstraction of reality — its brightness range may exceed color's, and high contrast is its sharpest weapon. 2. When a great photo keeps its EXIF, interrogate every value — ISO, aperture, shutter — because the settings hide the shooting strategy. 3. Judge B&W work at thumbnail size: blacks, whites and grays as distinct blocks with clean borders, subjects separated from backgrounds by tonal gap. 4. In post, set the global key first (low-key or bright gray), lift the subject, then use fog, rain, night and a smeared lens to render mood.","b":false},{"t":"h","x":"高清视频：","xe":"HD video:"},{"t":"p","x":"https://www.bilibili.com/video/BV1Kv411T7Dw/","b":false,"xe":"https://www.bilibili.com/video/BV1Kv411T7Dw/"},{"t":"h","x":"2020 Monochrome Awards 作品精选","xe":"2020 Monochrome Awards Selected Works"},{"t":"img","f":"img-02","w":1000,"h":706},{"t":"p","x":"Ahmad Kaddourah","b":false,"xe":"Ahmad Kaddourah"},{"t":"img","f":"img-03","w":1000,"h":666},{"t":"p","x":"Alex Rose","b":false,"xe":"Alex Rose"},{"t":"img","f":"img-04","w":1000,"h":1000},{"t":"p","x":"Benjamin Briones Grandi","b":false,"xe":"Benjamin Briones Grandi"},{"t":"img","f":"img-05","w":1000,"h":751},{"t":"p","x":"Bernd Willinger","b":false,"xe":"Bernd Willinger"},{"t":"img","f":"img-06","w":741,"h":1000},{"t":"p","x":"Cheyne Walls","b":false,"xe":"Cheyne Walls"},{"t":"img","f":"img-07","w":1000,"h":623},{"t":"p","x":"Cote Baeza","b":false,"xe":"Cote Baeza"},{"t":"img","f":"img-08","w":1000,"h":666},{"t":"p","x":"CRAIG SLAYBAUGH","b":false,"xe":"CRAIG SLAYBAUGH"},{"t":"img","f":"img-09","w":1000,"h":723},{"t":"p","x":"David Douglas","b":false,"xe":"David Douglas"},{"t":"img","f":"img-10","w":1000,"h":667},{"t":"p","x":"Debbie Smyth","b":false,"xe":"Debbie Smyth"},{"t":"img","f":"img-11","w":1000,"h":1000},{"t":"p","x":"G.B. Smith","b":false,"xe":"G.B. Smith"},{"t":"img","f":"img-12","w":1000,"h":666},{"t":"p","x":"Gheorghe Popa","b":false,"xe":"Gheorghe Popa"},{"t":"img","f":"img-13","w":1000,"h":1000},{"t":"p","x":"Jannick Clausen","b":false,"xe":"Jannick Clausen"},{"t":"img","f":"img-14","w":740,"h":1000},{"t":"p","x":"Joe Szurszewski","b":false,"xe":"Joe Szurszewski"},{"t":"img","f":"img-15","w":1000,"h":1000},{"t":"p","x":"Joerg Bacherle","b":false,"xe":"Joerg Bacherle"},{"t":"img","f":"img-16","w":1000,"h":667},{"t":"p","x":"Mark Beyermann","b":false,"xe":"Mark Beyermann"},{"t":"img","f":"img-17","w":768,"h":1000},{"t":"p","x":"Massimiliano Balo","b":false,"xe":"Massimiliano Balo"},{"t":"img","f":"img-18","w":1000,"h":799},{"t":"p","x":"Mathias Brych","b":false,"xe":"Mathias Brych"},{"t":"img","f":"img-19","w":1000,"h":484},{"t":"p","x":"Matthew Turner","b":false,"xe":"Matthew Turner"},{"t":"img","f":"img-20","w":1000,"h":952},{"t":"p","x":"Murray Sye","b":false,"xe":"Murray Sye"},{"t":"img","f":"img-21","w":1000,"h":667},{"t":"p","x":"Oscar Rialubin","b":false,"xe":"Oscar Rialubin"},{"t":"img","f":"img-22","w":1000,"h":1000},{"t":"p","x":"Patrick Hofmann","b":false,"xe":"Patrick Hofmann"},{"t":"img","f":"img-23","w":1000,"h":1000},{"t":"p","x":"Peter Wingerter","b":false,"xe":"Peter Wingerter"},{"t":"img","f":"img-24","w":1000,"h":1000},{"t":"p","x":"Robert Bolton","b":false,"xe":"Robert Bolton"},{"t":"img","f":"img-25","w":662,"h":1000},{"t":"p","x":"Roland Blum","b":false,"xe":"Roland Blum"},{"t":"img","f":"img-26","w":1000,"h":658},{"t":"p","x":"Samuel FERON","b":false,"xe":"Samuel FERON"},{"t":"img","f":"img-27","w":1000,"h":766},{"t":"p","x":"Sandra Cattaneo Adorno","b":false,"xe":"Sandra Cattaneo Adorno"},{"t":"img","f":"img-28","w":667,"h":1000},{"t":"p","x":"Vincent Lim","b":false,"xe":"Vincent Lim"},{"t":"img","f":"img-29","w":1000,"h":1000},{"t":"p","x":"Tilo Schügner","b":false,"xe":"Tilo Schügner"},{"t":"img","f":"img-30","w":1000,"h":665},{"t":"p","x":"Wei Jian Chan","b":false,"xe":"Wei Jian Chan"},{"t":"img","f":"img-31","w":1000,"h":714},{"t":"p","x":"William Eades","b":false,"xe":"William Eades"},{"t":"p","x":"‍欢迎大家在快手、米拍、微博平台发表视频和照片，参与 #星宿计划# 摄影大赛~‍","b":false,"xe":"Everyone is welcome to post videos and photos on Kuaishou, Mepai, and Weibo platforms to join the #Star Cluster Project# photography contest~"},{"t":"img","f":"img-32","w":960,"h":600},{"t":"p","x":"‍","b":false,"xe":"‍"}],"titleEn":"What Do Top Black-and-White Photos Look Like? Appreciation and Analysis of the Monochrome Photography Award Winning Works"}