{"slug":"namcha-barwa-peach-blossom","title":"雪山桃花大片原来这么拍！南迦巴瓦峰下索松村现场教学~","author":"Thomas看看世界","date":"2022-05-11","wechat":"https://mp.weixin.qq.com/s?__biz=MzI4NDA5MzE5NQ==&mid=2247495408&idx=1&sn=5bef3fb9164c9e345d2d3768defe62ae&chksm=eb821094dcf59982da100b264661b635c702a1cb7c3b175b73948fb9f5d3b3d475b03a86c92b&scene=21#wechat_redirect","blocks":[{"t":"p","x":"在今天的教程中，Thomas将会分享我前段时间在林芝索松村照片的前后期思路，视频知识点包括：","b":false,"xe":"In today's tutorial, Thomas shares the shooting and editing workflow behind my recent photos from Suosong Village in Nyingchi. Topics include:"},{"t":"p","x":"如何利用无人机探索和构图？","b":false,"xe":"How to use a drone to explore and compose?"},{"t":"p","x":"如何兼顾多个元素，拍出层次感又不显得杂乱？","b":false,"xe":"How to juggle multiple elements for a layered yet uncluttered image?"},{"t":"p","x":"晴天白天如何后期制作暗青色调？","b":false,"xe":"How to grade a dark teal tone in broad daylight?"},{"t":"img","f":"img-01","w":1080,"h":720},{"t":"h","x":"视频","xe":"Video"},{"t":"bili","bv":"BV1C54y1f7jU","bpic":"bili-1","bt":"雪山桃花大片原来这么拍！南迦巴瓦峰下索松村现场教学~"},{"t":"p","x":"这一篇是上面视频的完整图文整理。Thomas 在南迦巴瓦峰脚下的索松村现场教学：雪山、村庄、桃花三个元素怎么用无人机装进一张画面里，回酒店后又如何在 PS 里把一张晴天白天拍的照片调成网上点赞最多的暗青色调。下面按「实拍探索 → RAW 打底 → PS 精修 → 收尾」的顺序整理成图文。","xe":"This is the fully illustrated companion to the video above. Thomas teaches on location in Suosong Village at the foot of Mt. Namcha Barwa: how to fit snow peaks, a village and peach blossoms into one drone frame, then how to grade a daylight shot into the dark teal look that earned the most likes online. The notes below follow the video's arc: fieldwork, RAW foundation, Photoshop fine-tuning, and finishing."},{"t":"p","x":"先看成片。桃花掩映的村庄、青绿色的江水和田地、云雾中的南迦巴瓦——层次、光感和冷调氛围都在这一张里。它是怎么拍出来、又是怎么调出来的，往下看。","xe":"First, the final image: a village framed by peach blossoms, teal river water and fields, and Mt. Namcha Barwa wrapped in cloud — layers, light and a cool mood all in one frame. How it was shot, and how it was graded, follows."},{"t":"img","f":"v01","w":852,"h":480},{"t":"h","x":"01 无人机探索：会飞的相机与三景层次","xe":"01 Drone Scouting: A Flying Camera and Three Layers"},{"t":"p","x":"到了索松村，Thomas 先观察了这种野桃树：枝干比较细、花也比较小，凑近了拍其实并不好看。所以今天的策略是让无人机飞到高空，把整个村庄、桃树和雪山一起收进画面。","xe":"In Suosong Village, Thomas first studied the wild peach trees: thin branches, small flowers — honestly not much to look at up close. So the plan for the day: send the drone high enough to take in the whole village, the blossoms and the snow mountain together."},{"t":"p","x":"但他马上纠正了一个常见误区：很多人玩无人机喜欢飞得很高拍鸟瞰图，而他大部分时间飞得并不高。要把无人机看作一台可以到达任意位置的相机，而不是一个航拍器——这样平时地面拍照的构图技巧就全都用得上：寻找近处的桃树做前景，远处的索松村做中景，更远处的南迦巴瓦做远景，画面自然就有了层次，而不是「远处一座雪山 + 一小片近景」的干瘪构图（视频 0:56-1:36 处）。","xe":"He then corrects a common misconception: many drone pilots love flying high for bird's-eye shots, while he mostly doesn't fly that high. Treat the drone as a camera that can stand anywhere, not as an aerial platform — then all your ground-based composition skills apply: nearby peach trees as foreground, Suosong Village in the middle distance, Mt. Namcha Barwa as the far layer. The frame gains depth instead of collapsing into one distant peak plus a token foreground (at 0:56-1:36 in the video)."},{"t":"img","f":"v02","w":852,"h":480},{"t":"p","x":"具体选址时，他飞到了江对岸：对面的村庄田野里种满了绿油油的青稞苗，非常漂亮，桃花也开得茂盛，正好还有光线洒在上面，形成了明暗对比。而决定在这个机位取景的另一个构图理由是「重复」——重复的桃树和重复的田野形态，正是他反复强调过的构图要素（视频 1:36-2:01 处）。","xe":"Scouting the exact position, he flew across the river: the fields there were carpeted with vivid green barley shoots, the peach trees in full bloom, and light falling across it all for a bright-dark contrast. Another reason to plant the camera here was repetition — the repeating peach trees and repeating field patterns, a compositional device he keeps coming back to (at 1:36-2:01 in the video)."},{"t":"img","f":"v03","w":852,"h":480},{"t":"img","f":"v04","w":852,"h":480},{"t":"h","x":"02 RAW 打底：校准面板蓝原色双管齐下","xe":"02 RAW Foundation: The Calibration Panel's Blue Primary"},{"t":"p","x":"回到酒店，后期在戴尔 XPS 17 9720 笔记本上完成——93.7% 屏占比的 4K 触控屏，实际尺寸却和常见 15 寸笔记本差不多，小机身大屏幕。他先展示了挑出来的几张不同色调的成片，其中点赞最多的是这张青色调；随后打开 PSD，先看 RAW 文件里做了哪些处理（视频 2:05-3:02 处）。","xe":"Back at the hotel, editing happens on a Dell XPS 17 9720 — a 4K touch screen with a 93.7% screen-to-body ratio that still fits the footprint of a typical 15-inch laptop. He shows the selected finals in several different tones first — the teal one earned the most likes — then opens the PSD to review what was done to the RAW file (at 2:05-3:02 in the video)."},{"t":"p","x":"RAW 里的第一处处理在校准面板：蓝原色饱和度直接 +100。老规矩——蓝原色饱和度拉满时，暖色的饱和度提升会非常舒服，蓝色本身则容易过头，后面到 HSL 混色器里把蓝色饱和度抵消回去就行（视频 3:08-3:26 处）。","xe":"The first RAW move is in the Calibration panel: blue primary saturation straight to +100. As covered in his earlier tutorials, maxing the blue primary's saturation lifts the warm colors beautifully while blues themselves overshoot — you simply claw blue saturation back later in the HSL mixer (at 3:08-3:26 in the video)."},{"t":"img","f":"v05","w":852,"h":480},{"t":"p","x":"同时蓝原色色相往左移，这里赋值 -50：绿色会更偏黄绿，粉色的桃花也显得更粉——一杆两得。基本面板则只做了基础的曝光处理：把高光恢复回来，曝光和阴影都稍稍加了一点（视频 3:26-3:49 处）。","xe":"Alongside it, the blue primary's hue slides left, set to -50 here: greens lean yellow-green and the pink blossoms read pinker — one slider, two wins. The Basic panel sees only basic exposure work: highlights recovered, with a slight lift to exposure and shadows (at 3:26-3:49 in the video)."},{"t":"img","f":"v06","w":852,"h":480},{"t":"h","x":"03 PS 精修：降噪、压边与去暖定青调","xe":"03 Photoshop: Denoise, Edge Darkening, Cooling the Highlights"},{"t":"p","x":"进入 PS 后的第一个操作，永远是 Topaz Denoise AI 人工智能降噪。经常有朋友反馈这款插件非常慢——这台 XPS 17 9720 搭载英伟达 RTX 3060 Studio 显卡、12 代英特尔标压处理器、最高 64G 内存和最高 8TB 固态硬盘，跑起来性能非常够用（视频 3:50-4:22 处）。","xe":"The first stop inside Photoshop is always Topaz Denoise AI. Friends often complain the plugin is painfully slow — this XPS 17 9720, with an NVIDIA RTX 3060 Studio GPU, a 12th-gen Intel H-series CPU, up to 64GB of RAM and up to 8TB of SSD, handles it without breaking a sweat (at 3:50-4:22 in the video)."},{"t":"img","f":"v07","w":852,"h":480},{"t":"p","x":"降噪完成后是一个亮度/对比度调整图层：亮度 -100、对比度 -20，再给它蒙上一个蒙版、只对画面周边起作用——相当于把四周压暗，光线向中心收拢（视频 4:22-4:36 处）。接下来他发现高光里带着一点粉色，而这张图的目标是青色调、不要高光发暖——于是用色彩平衡在高光里加青色、加蓝色，把高光的暖意压下去（视频 4:37-4:54 处）。","xe":"After denoising comes a Brightness/Contrast adjustment layer: brightness -100, contrast -20, masked so it only affects the frame's edges — a vignette that gathers the light toward the center (at 4:22-4:36 in the video). Next he spots a pink cast in the highlights; since the target is a teal look with no warmth up top, Color Balance adds cyan and blue into the highlights to push that warmth out (at 4:37-4:54 in the video)."},{"t":"img","f":"v08","w":852,"h":480},{"t":"p","x":"然后他调用了一个 Nik 滤镜——「变亮变暗中心点」，非常简单，就是让中心区域亮起来，把中心点放在画面里合适的位置；接着又加了一个天光镜滤镜，给画面罩上一层非常舒服的暖色，与青色调形成平衡（视频 4:55-5:10 处）。","xe":"Then he calls in a Nik filter — \"Lighten/Darken Center\": disarmingly simple, it brightens the middle of the frame wherever you park its center point. A Skylight filter follows, laying a very comfortable warm veil over the image that balances the teal (at 4:55-5:10 in the video)."},{"t":"img","f":"v09","w":852,"h":480},{"t":"h","x":"04 反复微调：天空、江面与森林各归各位","xe":"04 Fine-Tuning: Sky, River and Forest, Each in Its Place"},{"t":"p","x":"接下来他觉得天空的蓝色饱和度整体有点高，于是建了一个色相/饱和度调整图层：蓝色饱和度增加 20，但明度降低 50。这里有个小知识——动明度会反过来影响饱和度的观感，明度降了 50，哪怕同时加了 20 的饱和度，整体看上去饱和度还是降下来了（视频 5:11-5:35 处）。","xe":"Next, the sky's blue feels oversaturated overall, so he builds a Hue/Saturation adjustment layer: blue saturation +20 but lightness -50. Here's a nugget worth remembering — moving lightness feeds back into perceived saturation; with lightness down 50, even a +20 saturation bump still reads as a net desaturation (at 5:11-5:35 in the video)."},{"t":"img","f":"v10","w":852,"h":480},{"t":"p","x":"随后又用一个色相/饱和度调整图层把蓝色提亮，但这次蒙版只让江面起作用、天空不动；江面提亮一次还不够，就再提一次。整体看蓝色还是需要压一点，于是用可选颜色工具在蓝色里加黑，让它更暗一些。他坦白说，这些都是凭着自己长期调色的感觉一步步在走（视频 5:37-6:08 处）。","xe":"Another Hue/Saturation layer then brightens the blues, but this time the mask confines the effect to the river surface, leaving the sky alone; one pass isn't enough, so the river gets a second lift. The blues overall still need pressing down, so Selective Color adds black into blues to darken them. He admits it plainly: these moves are walked through step by step on long-built grading intuition (at 5:37-6:08 in the video)."},{"t":"img","f":"v11","w":852,"h":480},{"t":"p","x":"蓝色饱和度降下来之后，画面整体又显得不够鲜艳了，尤其是植被——于是自然饱和度加了 30。接着沿着绿色森林选出那块区域，减一些蓝色、加一些绿色让它更舒服；再做一个 S 型对比度曲线。中间的光感则交给 ACR 径向滤镜，做了一个中间变亮、光线透过来的效果，以前也专门讲过这个做法（视频 6:09-7:12 处）。","xe":"With blue saturation tamed, the frame now feels under-saturated — the vegetation in particular — so vibrance goes up 30. He then selects the green forest band, subtracting blue and adding green to soothe it, and lays in an S-shaped contrast curve. The central glow comes from a Camera Raw radial filter brightening the middle, as if light were streaming through — a technique from his earlier tutorials (at 6:09-7:12 in the video)."},{"t":"img","f":"v12","w":852,"h":480},{"t":"h","x":"05 光感与变形：雾气刷光、主峰复位","xe":"05 Light and Warping: Brushing Mist, Restoring the Summit"},{"t":"p","x":"光感的最后一块拼图：新建一个柔光的空白图层，用淡黄色画笔在雾气上轻轻刷几下，营造光洒在雾气上的感觉——配合刚才的 ACR 径向滤镜，整张照片就有了一天里那个时刻的光感。之后蓝色饱和度又微微降低一点，因为前面加完之后有点太饱和了（视频 6:57-7:21 处）。","xe":"The final piece of the light puzzle: a blank layer set to Soft Light, brushed gently with a pale yellow brush across the mist, suggesting light catching the fog — together with the earlier Camera Raw radial filter, the photo now carries the light of that hour. Blue saturation gets a final slight trim, since the earlier boost had tipped it into oversaturation (at 6:57-7:21 in the video)."},{"t":"img","f":"v13","w":852,"h":480},{"t":"p","x":"最后一步是一个微小的变形：把左边山体的副峰往下拉，把中间的主峰整体往上提，让最重要的雪山处在画面的最高点——主体的地位不容挑战。至此，这张照片的后期全部完成（视频 7:22-7:39 处）。","xe":"The very last step is a tiny warp: pull the secondary peak on the left down, lift the main summit in the middle up, so the all-important snow mountain commands the highest point in the frame — the subject's status is non-negotiable. With that, the edit is complete (at 7:22-7:39 in the video)."},{"t":"img","f":"v14","w":852,"h":480},{"t":"p","x":"回看成片可以发现，调色从来不是一步到位：他也是一个图层接一个图层、一步一步凭着长期积累的感觉，慢慢逼近最终效果。调色过程中这块约 94% DCI-P3 广色域的屏幕让色彩显示丰富而准确，硬件级防蓝光也让长时间修图眼睛没那么疲劳（视频 7:40-8:08 处）。","xe":"Looking back at the final image, the lesson is clear: grading is never one move — it's layer after layer, step after step, guided by years of accumulated instinct, gradually converging on the final look. Through it all, the laptop's ~94% DCI-P3 wide-gamut screen rendered colors richly and accurately, and hardware-level blue-light reduction kept his eyes fresher over long editing sessions (at 7:40-8:08 in the video)."},{"t":"quote","x":"1. 把无人机当一台能到达任意位置的相机而不是航拍器：近处桃树做前景、索松村做中景、南迦巴瓦做远景，用重复与明暗对比选机位；2. RAW 打底三板斧：校准面板蓝原色饱和度 +100、色相 -50（桃花更粉、绿偏黄绿），HSL 再抵消蓝色，基本面板恢复高光、微提曝光阴影；3. PS 主线：Topaz 降噪 → 亮度/对比度蒙版压四边 → 色彩平衡压高光暖色 → Nik 中心提亮与天光镜；4. 靠饱和度、明度与蒙版分区域反复微调天空、江面、森林，最后柔光笔刷给雾气刷光、变形让主峰回到最高点。","xe":"1. Treat the drone as a camera that can stand anywhere, not an aerial rig: peach trees as foreground, Suosong Village mid-ground, Namcha Barwa far — pick the spot for repetition and bright-dark contrast; 2. The RAW foundation: blue primary saturation +100 and hue -50 in Calibration (pinker blossoms, yellow-green fields) with blues clawed back in HSL, plus recovered highlights and slight exposure/shadow lifts; 3. The Photoshop spine: Topaz denoise → masked Brightness/Contrast to darken edges → Color Balance to cool the highlights → Nik Lighten/Darken Center and a Skylight filter; 4. Fine-tune sky, river and forest region by region with hue/saturation and masks, then brush light onto the mist on a Soft Light layer and warp so the main summit stands tallest."}],"titleEn":"Snow Peaks & Peach Blossoms: A Live Tutorial in Suosong Village Under Mt. Namcha Barwa"}