{"slug":"moonlight-egret-photo","title":"这张照片真不是画的？月下白鹭图拍摄与后期思路分享！","author":"Thomas看看世界","date":"2021-12-19","wechat":"https://mp.weixin.qq.com/s?__biz=MzI4NDA5MzE5NQ==&mid=2247494345&idx=1&sn=1314ecc35e2643337d2d4bd152da52d6&chksm=eb8214addcf59dbb6cdffc116d8ab728a614ce3a96831934922ddf97ccf6f83a021105f1ac97&scene=21#wechat_redirect","blocks":[{"t":"h","x":"Thomas看看世界","xe":"Thomas Chu Photo"},{"t":"p","x":"摄影后期的一个核心步骤，就是对画面视觉重点的重新引导。","b":false,"xe":"A core step of photo post-processing is redirecting the viewer's visual focus within the frame."},{"t":"p","x":"今天的摄影教程中，我会分享一下前段时间“月下白鹭”图的后期调色思路。","b":false,"xe":"In today's tutorial, I'll share the post-processing and grading ideas behind the recent 'Egrets in Moonlight' image."},{"t":"p","x":"其中明暗再分布对画面视觉的重新引导，是这张照片后期处理的核心技巧！","b":false,"xe":"Redistributing brightness to redirect the viewer's eye is the key technique of this photo's post-processing!"},{"t":"img","f":"img-02","w":1080,"h":1619},{"t":"h","x":"视频教程","xe":"Video Tutorial"},{"t":"bili","bv":"BV1EQ4y1e7xR","bpic":"bili-1","bt":"如何给照片做减法？竟还有这样的摄影后期操作！"},{"t":"p","x":"这一篇是上面视频的完整图文整理。摄影大部分时候是一门简法的艺术：现实世界复杂而混乱，我们需要通过前期和后期的多重手段做减法，让想表现的主题和氛围更加突出。Thomas 以这张西藏孜珠寺的月夜航拍为例，完整拆解了他从无人机机位选择到裁图、调色、渲染云雾的全流程减法思路。","xe":"This is the full illustrated write-up of the video above. Photography is, most of the time, the art of subtraction: the real world is complex and chaotic, and it takes deliberate simplification — both in the field and in post — to make your subject and mood stand out. Using his moonlit aerial of Zizhu Monastery in Tibet, Thomas breaks down the complete subtraction workflow: drone positioning, cropping, color, and rendering fog."},{"t":"p","x":"先看成片（视频 0:01 处）：月亮悬在孜珠山的雪峰之上，寺院建筑在山脊上若隐若现，云雾把杂乱统统藏起——这是一张「做足了减法」的照片。","xe":"Start with the final image (0:01): the moon hanging above the snow peaks of Zizhu Mountain, the monastery buildings half-hidden along the ridge, fog concealing all the clutter — a photograph built on subtraction."},{"t":"img","f":"v01","w":852,"h":480},{"t":"h","x":"01 前期：无人机视角的减法","xe":"01 In the Field: Subtraction from a Drone View"},{"t":"p","x":"孜珠寺的这个机位相当经典，观景台就修在这个方向，大多数人都把无人机从这里飞出去。但 Thomas 觉得它的减法做得不够：近年来寺院的房屋越修越多，画面显得很乱，完全没有了「云上仙境、十几座小屋遗世独立」的感觉，倒像一座大城市建在山巅（视频 0:43-1:20 处）。","xe":"This vantage point at Zizhu Monastery is a classic — the viewing platform sits right here, and most people fly their drones from exactly this spot. But Thomas felt the subtraction was insufficient: with more and more buildings added in recent years, the scene turned cluttered, losing the sense of a hermitage adrift above the clouds and looking like a city planted on a summit (0:43-1:20)."},{"t":"img","f":"v02","w":852,"h":480},{"t":"p","x":"于是他把无人机飞到右侧上方，从侧面拍：一侧是山坡，前面的房子正好把后面的房子挡住；而且看到的是房屋的侧面，比正面那种长条形的立面小得多。发现角度还是偏高、每栋房子的大屋顶很抢眼之后，他又把无人机飞得更低、更远——屋顶立刻不再引人注目（视频 1:20-2:15 处）。两步视角调整，就是前期做的两层减法。","xe":"So he flew the drone to the upper right and shot from the side: the hillside conveniently blocked the front row of buildings, and what you see are the buildings' narrow sides rather than their long frontal facades. Finding the angle still too high — every big rooftop crying for attention — he flew lower and farther, and the roofs instantly stopped dominating (1:20-2:15). Two adjustments of viewpoint, two layers of subtraction done in the field."},{"t":"img","f":"v03","w":852,"h":480},{"t":"img","f":"v04","w":852,"h":480},{"t":"img","f":"v05","w":852,"h":480},{"t":"h","x":"02 后期第一步：裁图的减法","xe":"02 Post Step One: Subtract by Cropping"},{"t":"p","x":"前期做了一层减法，后期还要做三步：裁图在构图上进一步做减法，在色彩上做减法，最后再用一种特殊方式把很多细节掩盖掉。裁剪时他先砍掉左侧密密麻麻的电线杆；长宽比定在自己喜欢的 3:2；两栋黄色和红色的小房子、以及右下角一大坨太密的金幡，也一并裁掉（视频 2:31-3:29 处）。","xe":"One layer of subtraction in the field, three more in post: crop for composition, subtract from color, and finally mask away much of the detail. He first cut the tangle of power poles on the left; set his preferred 3:2 aspect ratio; then cropped out two small yellow and red houses and the overly dense mass of prayer flags in the lower right (2:31-3:29)."},{"t":"img","f":"v06","w":852,"h":480},{"t":"p","x":"构图上他尽量让月亮保持在画面中间区域——月亮居中，几座最高的山峰分居两端，形成一个动态的平衡结构。裁剪完成后进入 PS，先做了类似 Lightroom 的简单调整：提亮画面中心，加一点柔化（视频 3:30-4:05 处）。","xe":"He kept the moon near the center of the frame — moon at the middle, the loftiest peaks anchoring both ends, forming a dynamic, balanced composition. After cropping he moved into Photoshop for a few Lightroom-style basics: brightening the center of the frame and adding a touch of softening (3:30-4:05)."},{"t":"h","x":"03 后期第二步：色彩的减法与加法","xe":"03 Post Step Two: Color, Less and More"},{"t":"p","x":"接下来是带蒙版的色彩手术。第一步：用色相/饱和度工具选中黄色，把明度降低——明度降低时，黄色的饱和度和亮度会同时下降，刺眼的金幡和泛黄的岩石就这样被压了下去。关键是必须加蒙版限制范围：否则一降，天空的颜色、金碧辉煌的金顶也会跟着遭殃（视频 4:10-5:07 处）。","xe":"Then come the mask-guided color operations. First: with the Hue/Saturation tool he targets yellows and drops lightness — which lowers both saturation and brightness at once — taming the garish prayer flags and yellowish rocks. The key is a mask to limit the damage: without it, the sky and the resplendent golden roofs would fade along with them (4:10-5:07)."},{"t":"img","f":"v07","w":852,"h":480},{"t":"p","x":"第二步非但没减，反而加：对金顶区域，他用可选颜色选择黄色——减青就是加红，再加一点黄，相当于把金色加强；最后减黑色，相当于提亮。藏族同胞的红墙与金顶建筑装饰本就极漂亮，这一步让金碧辉煌的地方更加金光闪闪。第三步则把几处蓝色的雨棚适当降低了饱和度（视频 5:13-6:08 处）。","xe":"The second move subtracts nothing and adds instead: on the golden-roof area he uses Selective Color on yellows — cutting cyan to add red, plus a touch more yellow, reinforcing the gold; then reducing black, which brightens. Tibetan architecture already glows with red walls and golden roofs; this step makes the resplendent parts gleam even more. Third, the few blue canopies get a modest desaturation (5:13-6:08)."},{"t":"img","f":"v08","w":852,"h":480},{"t":"h","x":"04 云雾渲染：一举三得","xe":"04 Rendering Fog: One Move, Three Wins"},{"t":"p","x":"做完这几步，Thomas 仍觉得有问题：一是下方的金幡和转山走廊显得凌乱，极大破坏了山的神秘感；二是那天早上天气太通透，最前面的山和最后面的山都一样清晰，层次感拉不出来（视频 6:12-6:46 处）。","xe":"Even after these steps, two problems remained: the prayer flags and the kora corridor below still looked cluttered, badly eroding the mountain's sense of mystery; and with such clear morning air, the nearest and farthest ridges were equally sharp, leaving the image flat (6:12-6:46)."},{"t":"p","x":"他灵机一动，干脆在后期渲染云雾——一举三得：觉得乱的地方直接用雾气遮掉；云雾天然带来神秘感，还像真的遇上了云雾天气；最重要的是层次感出来了——最前面一层雾，中间清晰，后面又有雾隔开，再往后稍清晰，最后是天空和月亮（视频 6:47-8:00 处）。","xe":"Then inspiration struck: render fog in post — one move, three wins. Anything cluttered gets veiled; fog brings mystery, as if he had actually arrived on a misty morning; and best of all, depth returns — fog in front, clear detail in the middle, another bank of fog behind, then a fainter ridge, and finally sky and moon (6:47-8:00)."},{"t":"img","f":"v09","w":852,"h":480},{"t":"h","x":"05 云雾的两种后期做法","xe":"05 Two Ways to Build the Fog"},{"t":"p","x":"第一种方法：去网上搜 PS 云雾画笔（资源非常多）。叠加时不要反复用同一支画笔——调整位置、大小，甚至用画笔工具改变雾的方向，几种笔刷混合之后就看不出是同一个画笔了；再换一支，用大大小小的笔触模拟自然界雾气的纹理。Thomas 这张照片用的就是这种方法（视频 8:02-9:00 处）。","xe":"Method one: search online for PS cloud/fog brushes — they are everywhere. Avoid stamping the same brush repeatedly: vary position and size, even push the fog's direction with a soft brush, and once several strokes blend together the repeat disappears; switch brushes again and use large and small dabs to imitate the texture of natural fog. This is the method Thomas used for this image (8:02-9:00)."},{"t":"p","x":"第二种方法：执行「滤镜 → 渲染 → 云彩」生成云的基底，把混合模式改成滤色；先用 Ctrl+T 做透视变换——近处的云要大、远处的云要小——再拉长调大小，因为云彩一般偏长条。单层叠上去肯定假，所以把不透明度降到 20-30%，复制图层错开位置（云彩是随机生成的，一挪位置就多叠一层随机），再复制一层放大错位，效果就相当逼真了。最后编组、加黑色蒙版，把需要云雾的地方刷出来即可（视频 9:03-10:34 处）。","xe":"Method two: run Filter > Render > Clouds for a base layer, set the blend mode to Screen; use Ctrl+T for a perspective transform — near clouds big, far clouds small — then stretch it, since clouds tend to be elongated. One layer always looks fake, so drop opacity to 20-30%, duplicate and offset the layer (clouds are random, so every shift stacks new randomness), then duplicate once more, larger and offset again — the result is remarkably believable. Finally group the layers, add a black mask, and paint the fog in where it belongs (9:03-10:34)."},{"t":"img","f":"v10","w":852,"h":480},{"t":"img","f":"v11","w":852,"h":480},{"t":"p","x":"最终成片见视频 10:34 处：月亮、雪峰、寺院与云雾各安其位，凌乱被藏起，层次被拉开。这张照片也收录进了《看见世界 2022》周历——照片上方留白可记事，沿线裁下还能当明信片或挂画，各大电商平台搜索「看见世界2022」即可找到。","xe":"See the final image at 10:34: moon, snow peaks, monastery and fog each in their place — clutter hidden, depth restored. The photograph is also featured in the 'Seeing the World 2022' week-by-week calendar, with space for notes and tear-off prints that work as postcards or mini posters; search for it on major e-commerce platforms."},{"t":"img","f":"v12","w":852,"h":480},{"t":"quote","x":"1. 前期减法：避开经典机位，无人机飞到侧上方、更低更远，用山坡遮挡和侧面视角藏起杂乱；2. 裁图继续做减法：3:2 长宽比，去掉电线杆、杂色小屋与过密经幡，月亮居中、山峰分居两端成动态平衡；3. 色彩减法加法并行：黄色降明度压金幡，蒙版保护天空金顶，金顶可选颜色加强金色，蓝棚降饱和；4. 云雾渲染一举三得：遮乱、增神秘、拉层次——云雾画笔或「渲染云彩+滤色+随机叠层」皆可达成。","xe":"1. Subtract in the field: skip the classic spot, fly the drone higher to the side then lower and farther, letting the slope and side views hide the clutter; 2. Keep cropping: 3:2 ratio, cut poles, odd little houses and dense flags — moon centered, peaks anchoring the ends; 3. Color: drop yellow lightness to calm the flags behind a protective mask, boost the gold with Selective Color, mute the blue canopies; 4. Rendered fog does triple duty — hiding clutter, adding mystery, building depth — via fog brushes or Render Clouds with Screen blending and layered randomness."},{"t":"img","f":"img-03","w":790,"h":1256},{"t":"img","f":"img-04","w":790,"h":1276}],"titleEn":"This Photo Really Isn't a Painting? Shooting and Post-Processing Ideas for Egrets in Moonlight"}