{"slug":"moon-photography-ideas","title":"摄影师是如何拍月亮的？审美提升+思路扩展！","author":"Thomas看看世界","date":"2022-09-12","wechat":"https://mp.weixin.qq.com/s?__biz=MzI4NDA5MzE5NQ==&mid=2247496065&idx=1&sn=7678ca0e091e0c5a71dcd7ac86c16880&chksm=eb820fe5dcf586f36d8053d0b37706cff48d02d193655cb8fad61bd6c357af9315033f4fa911&scene=21#wechat_redirect","blocks":[{"t":"p","x":"月亮，作为一个一年365天都能拍摄的题材，看似简单，其实要拍好并不容易。","b":false,"xe":"The moon is a subject you can shoot 365 days a year. It looks simple, but photographing it well is not easy."},{"t":"p","x":"今天的摄影教程，是一个审美拓展和作品欣赏的视频。","b":false,"xe":"Today's photography tutorial is a video for expanding your aesthetic horizons and appreciating great works."},{"t":"img","f":"img-01","w":1080,"h":608},{"t":"p","x":"在我解说的作品中，其中既有一些中国年轻摄影师的照片，也有安塞尔亚当斯、爱德华史泰钦等经典摄影大师的作品，还有同为平面艺术的画家们的大作，相信会对大家有所启发。","b":false,"xe":"In the works I comment on, you will find photos by young Chinese photographers, masterpieces by classic masters such as Ansel Adams and Edward Steichen, and works by painters — fellow artists in the flat picture plane. I believe they will inspire you."},{"t":"h","x":"视频","xe":"Video"},{"t":"bili","bv":"BV1GT411M7CA","bpic":"bili-1","bt":"摄影师是如何拍月亮的？审美提升+思路扩展！"},{"t":"p","x":"这一篇是上面视频的完整图文整理。月亮一年 365 天都能拍，看似简单，拍好却不容易。Thomas 把月亮摄影总结为三个大方向，并从透纳、艾伊瓦佐夫斯基等画家的经典绘画，讲到斯泰肯、安塞尔·亚当斯的摄影史名作，再到中国年轻摄影师的长焦月亮创作——用一大批优秀作品帮你开拓拍月亮的思路。","xe":"This is the fully illustrated companion to the video above. The moon can be photographed 365 days a year — it looks easy, but doing it well is not. Thomas sorts moon photography into three broad directions, then moves from classic paintings by Turner and Aivazovsky to milestone photographs by Steichen and Ansel Adams, and on to the telephoto moon work of young Chinese photographers — a large set of excellent images to widen your own thinking.","b":false},{"t":"p","x":"先看总览。下面这张分类卡截自视频 1:29 处，是整期教程的框架：中广角风光、长焦风光、天文特写，前两者正是下文展开的重点。","xe":"Start with the overview. This classification card comes from 1:29 in the video and frames the whole tutorial: wide-to-medium landscape, telephoto landscape, and astrophotography close-ups — the first two are unpacked below.","b":false},{"t":"img","f":"v01","w":852,"h":480},{"t":"h","x":"01 月亮摄影的三个方向","xe":"01 Three Directions in Moon Photography"},{"t":"p","x":"Thomas 把月亮摄影分为三个大的方向（视频 0:47 处）。第一个是中广角的风光：这时要关注的是地面场景本身的氛围和情绪，月亮只是作为风景的光源、以及氛围的烘托物。第二个是最近非常火的长焦拍月——但不是直接用长焦去打月亮，而是把月亮作为地标建筑或互动元素的背景，让前景和它产生互动。第三个是天文摄影，去描绘月亮本身的细节，本期不展开。","xe":"Thomas sorts moon photography into three broad directions (at 0:47 in the video). The first is wide-to-medium landscape: the ground scene's own atmosphere and mood matter most, and the moon serves only as the landscape's light source and mood-setter. The second is the currently popular telephoto moon shot — not aiming at the moon directly, but using it as a backdrop for landmarks or interactive elements, letting the foreground converse with it. The third is astrophotography of the moon's own detail, which this episode sets aside.","b":false},{"t":"img","f":"v02","w":852,"h":480},{"t":"p","x":"开讲之前，Thomas 先带大家看了一批知名画家与摄影大师、以及现代年轻摄影师的月亮创作（视频 0:30 处）。之所以从绘画讲起，是因为在广角月亮风景这个题材上，绘画史上有非常多经典作品——它们同样是平面视觉作品，可以给我们直接的启发：广角的月亮，到底应该怎么拍。","xe":"Before the main course, Thomas shows a batch of moon works by famous painters, photographic masters and today's young photographers (at 0:30 in the video). He starts with painting because the wide-angle moon landscape has a long, glorious history on canvas — and paintings, being flat visual works just like photographs, offer direct lessons in how a wide-angle moon should actually be shot.","b":false},{"t":"h","x":"02 月光是一种情绪光源","xe":"02 Moonlight Is an Emotional Light Source"},{"t":"p","x":"透纳的这幅名画（视频 1:56 处）描绘了海中一艘渔船在月光下与海浪搏斗的场景。为什么画月光而不画日光？Thomas 认为关键在于：月亮能极好地营造和烘托整个情绪——在月光笼罩下，你可以把很多地方画得很黑，做出暗调效果，带来深不可测的无助感和神秘莫测的氛围。","xe":"Turner's famous painting (at 1:56 in the video) shows a fishing boat at sea battling waves under moonlight. Why moonlight and not daylight? Thomas's answer is that the moon excels at building and heightening mood — under its glow you can sink much of the canvas into black, and that low-key treatment carries an unfathomable helplessness and an air of mystery.","b":false},{"t":"img","f":"v03","w":852,"h":480},{"t":"p","x":"很多画作都利用了月亮的这个特点。除了压抑神秘，月亮还有一个重要的氛围属性：安静（视频 2:41 处）。要描述宁静、安详的画面，月光肯定比日光更合适；而要描绘恐怖、神秘的场景，月光同样是更贴合的情绪（视频 2:56 处）。月亮最重要的点，就是它作为光源时可以极好地提升画面的情绪。","xe":"Many painters put this trait to work. Beyond oppression and mystery, the moon carries another moods: stillness (at 2:41 in the video). For calm, serene scenes moonlight beats daylight hands down; for scenes of dread and mystery, it is again the better fit (at 2:56 in the video). The moon's defining power is that, as a light source, it lifts the emotion of the whole frame.","b":false},{"t":"img","f":"v04","w":852,"h":480},{"t":"p","x":"摄影史上最贵的一张月亮照片——爱德华·斯泰肯的《月夜池塘》（视频 3:15 处），就是极好的例证：它在技术上确有突破，但从氛围上看与前面画家的作品是一致的，都是利用月色给池塘带来梦幻而神秘的气息。而安塞尔·亚当斯的《月升》（视频 3:48 处）则说明另一点：在这类照片里，月亮更多只是光源和衬托，你要核心表现的是下方的风景——如果能像斯泰肯那样传达出月色下的神秘感、孤独感或力量感，那就更好了。","xe":"The most expensive moon photograph in history, Edward Steichen's The Pond—Moonlight (at 3:15 in the video), proves the point: it broke technical ground, but atmospherically it lands exactly where the painters did, using moonlight to wrap its pond in dream and mystery. Ansel Adams's Moonrise (at 3:48 in the video) teaches the other half: in such pictures the moon is mostly a light source and a foil — what you are really photographing is the landscape beneath, and the prize goes to images that, like Steichen's, convey mystery, solitude or power under the moon.","b":false},{"t":"img","f":"v05","w":852,"h":480},{"t":"h","x":"03 广角拍月 地景情绪优先","xe":"03 Wide-Angle Moons: the Landscape's Mood Comes First"},{"t":"p","x":"落到具体创作上，广角月亮风光的案例非常丰富：可以用月光去照亮海面，很多画家也曾在月光下描绘大海（视频 4:21 处）；有摄影师在飞机上拍下月亮与下方广袤的大地，空旷而震撼（视频 4:29 处）；视频 4:41 处这张月晕作品，地景同样选在了梦幻的雪原上——拍摄广角风光，关注点不应该在月亮上，而是如何让地景营造出梦幻、神秘的氛围。","xe":"In practice, wide-angle moon landscapes come in rich variety: moonlight can illuminate the sea, just as painters long painted the sea by its light (at 4:21 in the video); one photographer shot the moon from a plane over the vast earth below — empty and stunning (at 4:29 in the video); and in the lunar-halo image at 4:41 in the video, the ground scene is again a dreamlike snowfield. For wide-angle work, the point of focus should never be the moon itself but how the landscape builds a dreamlike, mysterious atmosphere.","b":false},{"t":"img","f":"v06","w":852,"h":480},{"t":"p","x":"星月同辉是广角拍月的经典题目（视频 5:01 处）：最好看的除了月亮与星空，还有下面被月光照亮的山峰。Thomas 自己也拍到过星月同辉的场景（视频 5:17 处）——但当时他的关注点仍是前景：前方的冰川、雪山和一顶帐篷，想表现人类探索自然的勇气和力量感；月亮和星空，作为人类同样在探索的宇宙，给整张照片的情绪带来了极大的辅助。","xe":"Pairing the moon with the Milky Way is a classic wide-angle theme (at 5:01 in the video): besides the moon and stars themselves, the moonlit peaks below often make the picture. Thomas has captured such a scene too (at 5:17 in the video) — yet his attention stayed on the foreground: the glacier ahead, the snow mountains, and a single yellow tent, expressing human courage and strength in exploring nature; the moon and stars, that other frontier humans are exploring, lend the frame's emotion an enormous assist.","b":false},{"t":"img","f":"v07","w":852,"h":480},{"t":"img","f":"v08","w":852,"h":480},{"t":"p","x":"技巧层面，想既拍到有细节的月亮又保住地景光线（视频 6:14 处），一方面可以做包围曝光，另一方面可以找弱光比的环境——比如日出日落、蓝调时刻拍摄，此时月亮和地景的光比较接近，甚至单张就能拍出两者兼顾的照片。地景的情绪也可以很多样：表现神性与宗教题材时，山巅的寺庙本身足够伟大，月亮正好放在中间就是点睛之笔（视频 5:45 处）；表现宁静的氛围时，月亮与地景的情绪完全合拍（视频 6:05 处）。","xe":"As for technique, if you want a detailed moon and a lit landscape in one frame (at 6:14 in the video), one route is exposure bracketing; another is to seek low-contrast light — shoot around sunrise, sunset or the blue hour, when moon and landscape are close in brightness, and even a single frame can hold both. The landscape's mood can vary freely: for a divine, religious theme, the mountaintop monastery is majestic on its own and the moon placed dead-center becomes the finishing touch (at 5:45 in the video); for pure tranquility, the moon and the scene are perfectly in tune (at 6:05 in the video).","b":false},{"t":"img","f":"v09","w":852,"h":480},{"t":"p","x":"还可以让月亮与极光同框、互相呼应，让整张照片更加大气震撼（视频 6:40 处）；视频 6:52 处的作品则关于生命主题——生与死、日与月，本身就是互为反方向的交叉对比。总结起来（视频 7:08 处）：广角风光中拍月亮，核心是营造地景的情绪，而且地景最好不是随便拍的，要与月亮有一些呼应——探索自然、神性宗教、宁静、神秘、与大海搏斗，这些独特的氛围地景才和月亮更搭配。","xe":"You can also put moon and aurora in one frame to answer each other, making the photograph grander and more stunning (at 6:40 in the video); the work at 6:52 in the video takes on life itself — life and death, sun and moon, cross-reading opposites by nature. To sum up (at 7:08 in the video): in wide-angle landscapes the core is building the landscape's mood, and the landscape should never be arbitrary — it should echo the moon. Exploration, divinity, tranquility, mystery, a fight against the sea — these distinctive moods are what pair best with it.","b":false},{"t":"h","x":"04 长焦拍月 为月亮找前景","xe":"04 Telephoto Moons: Give the Moon a Foreground"},{"t":"p","x":"第二个方向是长焦风光：月亮最好作为地表建筑、或互动的人物元素的一个背景（视频 7:43 处）。中国最近有非常多年轻天文摄影师拍出了精彩的长焦月亮作品，比如微博上的 Traveler——他的月亮三件套以上海的高楼大厦为前景，还拍过列车与月亮；知名建筑、雕像、甚至天文仪器，都和月亮形成了互动；最近他拍摄的摩天轮与月亮（视频 8:32 处）也非常值得学习。","xe":"The second direction is the telephoto landscape: the moon works best as a backdrop for buildings or for people in interaction (at 7:43 in the video). Lately many young Chinese astrophotographers have produced outstanding telephoto moon work — Traveler on Weibo, for example: his moon trilogy sets the moon against Shanghai's skyscrapers, he has photographed trains passing it, and famous buildings, statues, even astronomical instruments all interact with the moon in his frames; his recent Ferris wheel versus moon shot (at 8:32 in the video) is especially worth studying.","b":false},{"t":"img","f":"v10","w":852,"h":480},{"t":"p","x":"拍这类照片必须提前规划，用 PlanIt! 等专业计算软件算好月亮的位置和时机再去拍摄（视频 8:39 处）。国外摄影师同样在拍：英国的地标建筑、特色灯光与月亮呼应，万家灯火和月亮同框非常有意境；经典地标建筑与月亮更是长焦月亮的常青主题。人的互动也很出彩——比如 Red and Yang 的作品，一对情侣在月亮前看月亮，共同的目标、共同的美好向往，是非常应景的画面（视频 9:09 处）。","xe":"This kind of shot demands planning ahead — computing the moon's position and timing with dedicated tools like PlanIt! before heading out (at 8:39 in the video). Overseas photographers do the same: British landmarks and their signature lights answering the moon, a frame of city lights and moon together that is pure poetry; classic landmarks plus the moon is an evergreen telephoto theme. Human interaction shines too — in Red and Yang's work a couple watches the moon together, a shared goal, a shared longing, a perfectly apt scene (at 9:09 in the video).","b":false},{"t":"p","x":"天文摄影师叶梓颐最近的一组作品（视频 9:26 处）则以嫦娥为主题：月亮前一位身着汉服的小姐姐翩然起舞，非常唯美——月亮与月下独舞的美丽，情绪和意境极其搭配。这类作品需要非常精细的规划与现场调度，Thomas 认为这种拍月亮的创作既是科学，也是艺术（视频 10:04 处），非常值得学习。","xe":"Astrophotographer Ye Ziyi's recent series (at 9:26 in the video) takes Chang'e as its theme: a dancer in hanfu twirling before the moon — utterly graceful. The moon and a beauty dancing alone beneath it: mood and artistic conception could not match better. Work like this demands meticulous planning and on-site coordination, and in Thomas's view such moon photography is both science and art (at 10:04 in the video) — deeply worth learning from.","b":false},{"t":"img","f":"v11","w":852,"h":480},{"t":"p","x":"Thomas 自己那张白鹭立于枝头、背后一轮明月的照片（视频 10:06 处），其实没有提前规划，只是偶然遇到——但同样提取出了月亮的意境：闲云野鹤般的白鹭与圆月，非常符合中国传统文化里的意境和氛围。此外还有天文台与月亮、人造卫星或空间站与月亮的组合——探索的主题与月亮给人的感受高度统一（视频 10:43 处）。","xe":"Thomas's own photograph — an egret perched on a branch before a full moon (at 10:06 in the video) — was no planned shot, just a lucky encounter, yet it still distills the moon's poetry: the free-roaming egret and the round moon speak straight to the imagery of Chinese tradition. There are also observatories with the moon, satellites or space stations crossing it — the theme of exploration chimes perfectly with what the moon itself evokes (at 10:43 in the video).","b":false},{"t":"img","f":"v12","w":852,"h":480},{"t":"p","x":"如果暂时找不到这些前景——长焦拍月确实需要精细的规划和准备——最简单的办法是拍摄一些树枝的纹理剪影和月亮（视频 11:04 处），或者利用云层和月亮去构图，这些都是可以简单入门的方式。最后再回顾一下今天的思路（视频 11:17 处）：中广角风光里，月亮是风景的光源和氛围的烘托物，烘托的是地景的情绪；长焦风光里，则要找到地标建筑、人类的互动元素或有趣的元素，与月亮在意义上、情感上完成连接。月亮摄影一年 365 天都可以拍，欢迎把你的作品和想法在评论区交流。","xe":"If you cannot yet find such foregrounds — telephoto moon work truly does demand fine planning and preparation — the simplest entry points are shooting the textured silhouettes of branches against the moon (at 11:04 in the video), or composing the moon with clouds; both are easy ways in. To recap the video's thinking (at 11:17 in the video): in wide-to-medium landscapes the moon is the light source and mood-setter for the scene, amplifying the land's emotion; in telephoto landscapes, find landmarks, human interactions or playful elements and connect them to the moon in meaning and feeling. The moon can be photographed 365 days a year — share your results and ideas in the comments.","b":false},{"t":"quote","x":"1. 月亮摄影三个方向：中广角风光、长焦风光、天文特写，前两者的核心都是地景与前景，而不是月亮本身；2. 月光最重要的价值是烘托情绪——暗调、神秘、安静、孤独，从透纳到斯泰肯莫不如此；3. 广角拍月要营造地景的情绪，并让地景与月亮呼应：探索、神性、宁静皆是好主题，弱光比时甚至可以单张兼得月亮细节与地景光线；4. 长焦拍月要为月亮找前景，用 PlanIt! 等软件提前规划，没有条件时从树枝剪影和云层入手。","xe":"1. Moon photography has three directions — wide-to-medium landscape, telephoto landscape, and astro close-ups; the first two are about the land and the foreground, never the moon alone. 2. Moonlight's greatest value is mood — low-key, mysterious, quiet, lonely — from Turner to Steichen alike. 3. In wide-angle work, build the landscape's mood and let it echo the moon: exploration, divinity and stillness all work, and in low-contrast light a single frame can hold both lunar detail and a lit landscape. 4. In telephoto work, give the moon a foreground and plan with tools like PlanIt!; without the conditions, start with branch silhouettes and clouds.","b":false},{"t":"h","x":"高清视频：","xe":"HD video:"},{"t":"p","x":"https://www.bilibili.com/video/BV1GT411M7CA/","b":false,"xe":"https://www.bilibili.com/video/BV1GT411M7CA/"},{"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}],"titleEn":"How Photographers Shoot the Moon: Aesthetics and New Ideas"}