{"slug":"natgeo-award-raw-video","title":"国家地理大奖照片原图长啥样？拍摄与后期过程视频分享来啦！","author":"Thomas看看世界","date":"2020-04-26","wechat":"https://mp.weixin.qq.com/s?__biz=MzI4NDA5MzE5NQ==&mid=2247490462&idx=1&sn=e15486ba6ec3e145ea290a947237354d&chksm=eb81e5fadcf66cecbb3545fca0cbedcbc279cc8ceb373bff4cd37d63a5b0bcdebcd3996f36a8&scene=21#wechat_redirect","blocks":[{"t":"h","x":"Thomas看看世界","xe":"Thomas Chu Photo"},{"t":"p","x":"在未来的摄影教程中，托马斯会选一些照片作为例子，和大家分享完整的前后期思路或者过程。","b":false,"xe":"In future photography tutorials, Thomas will pick selected photos as examples and share the complete shooting and post-processing workflow behind them."},{"t":"p","x":"今天托马斯就会和大家用视频分享一下，我《看见世界》周历封面，2019年国家地理摄影大赛全球大奖照片的拍摄与后期过程。","b":false,"xe":"Today, Thomas shares in video form the shooting and post-processing of the cover photo of my 'Seeing the World' weekly calendar — the global grand prize image of the 2019 National Geographic photography contest."},{"t":"img","f":"img-02","w":1080,"h":720},{"t":"h","x":"视频教程","xe":"Video Tutorial"},{"t":"bili","bv":"BV1HK41157uU","bpic":"bili-1","bt":"国家地理大奖照片原图长啥样？拍摄后期过程揭秘！"},{"t":"p","x":"这一篇是上面视频的完整图文整理，也是 Thomas「完整前后期流程」栏目的第一期。主角是他《看见世界》周历的封面照片——2019 年国家地理摄影大赛全球大奖作品。Thomas 首次公开了这张照片的原图：一张 ISO 3200、还欠曝两档的「废片」，以及从格陵兰小镇踩点、抓拍一家三口，到后期把它救回来的全过程。","xe":"This is the full illustrated write-up of the video above, and the first episode of Thomas's complete-workflow series. The star is the cover image of his 'Seeing the World' wall calendar — the Grand Prize winner of the 2019 National Geographic photography contest. For the first time, Thomas reveals the original raw file — an ISO 3200 frame two stops underexposed — and the whole journey from scouting a Greenland settlement and catching a family of three, to rescuing the file in post."},{"t":"p","x":"先看这张获奖照片的最终样子与它的出处（视频 0:41-0:48 处）：雪夜、路灯、五颜六色的小屋，以及雪地上一家三口拉长的影子。","xe":"First, the final award-winning image and where it came from (0:41-0:48): a snowy night, a street lamp, brightly colored houses, and the long shadows of a family of three stretched across the snow."},{"t":"img","f":"v01","w":852,"h":480},{"t":"img","f":"v02","w":852,"h":480},{"t":"h","x":"01 无人机情报图与三个构思要点","xe":"01 The Drone Intel Map and Three Points of Conception"},{"t":"p","x":"拍摄地是格陵兰一个叫乌佩纳维克（Upernavik）的本地渔村——Thomas 特意选在 3 月、格陵兰最冷的时候去，想看看本地人如何度过如此寒冷的冬天。这个地方游客不会去，网上资料极少，所以抵达后他先用无人机建立了一张「情报图」，对整个周边环境获得直观认识（视频 1:02-1:50 处）。","xe":"The location is Upernavik, a local fishing village in Greenland — Thomas deliberately went in March, the coldest time of year, to see how locals survive such a winter. Tourists never come and online material is scarce, so on arrival he first flew his drone to build an 'intel map' of the surroundings (1:02-1:50)."},{"t":"p","x":"构思阶段他带着三个问题：第一，既然选了冬天来，照片要表达冬天的情绪和氛围；第二，要找到格陵兰的代表性地理和人文元素——拍到的是「冬天的格陵兰」，而不是冬天的冰岛或东北；第三，寻找画面里的秩序、结构与色彩，做出独特的美感（视频 1:50-3:05 处）。","xe":"Three questions guided the concept: first, having come in winter, the photo must convey winter's mood; second, find the representative geographic and human elements of Greenland — so it reads as 'Greenland in winter', not Iceland or northeast China; third, look for order, structure and color in the scene to build its own aesthetic (1:50-3:05)."},{"t":"img","f":"v03","w":852,"h":480},{"t":"h","x":"02 从孤屋到街角：机位的发现","xe":"02 From Lone House to Street Corner: Finding the Viewpoint"},{"t":"p","x":"借着情报图，Thomas 很快排除了「一堆小房子、没有突出主体」的平庸画面：小镇教堂是现成的兴趣点；一栋小房子背后是冰封大海，飞高一点就能拍出「小房子立在整个冰原之中」的极简画面（视频 2:58-3:26 处）。","xe":"With the drone map he quickly ruled out the mediocre frame — 'a bunch of small houses with no focal point'. The village church was a ready-made anchor; a lone house with the frozen sea behind it, shot from higher up, could become a minimalist study of one dwelling in an ocean of ice (2:58-3:26)."},{"t":"img","f":"v04","w":852,"h":480},{"t":"p","x":"白天的俯瞰还确认了格陵兰最鲜明的人文符号：五颜六色的建筑。而最终的获奖机位并非来自航拍——是他在路上走着走着突然发现的：一条向前的路，背后一排恰好五颜六色的房子，远处是冰封的大海、小岛，以及只有极地才有的巨大冰山（冰岛和罗弗敦都没有）——当地特色全齐了（视频 3:26-4:54 处）。他也很喜欢前景路灯打下来的光，正巧一位机场工作人员走过，便拍下了一版。","xe":"Daylight aerials confirmed Greenland's most vivid human signature: the rainbow of colored houses. The winning viewpoint, though, came not from the air — he stumbled on it while walking: a leading path, a row of houses that happened to bloom in every color, and beyond them the frozen sea, islets, and the huge icebergs found only in polar regions — Iceland and Lofoten have none (3:26-4:54). He also loved the glow of the street lamp in the foreground, and caught a passing airport worker for a first version."},{"t":"img","f":"v05","w":852,"h":480},{"t":"img","f":"v06","w":852,"h":480},{"t":"h","x":"03 抓拍一家三口：快门优先的决策","xe":"03 Catching the Family: Shutter-First Decisions"},{"t":"p","x":"初始参数是 ISO 200、f/8、1/5 秒左右。但他很快发现这版有缺陷：背景房子色彩出来了，结构却没出来——只拍到建筑的一个面，像平面的贴图。往雪坡上走一点，看到房子的侧面，色彩与立体感就兼得了（视频 5:29-6:20 处）。就在此时，获奖照片里的一家三口恰好经过——1/5 秒的快门，人是糊的。","xe":"His starting settings were ISO 200, f/8, around 1/5 s. The flaw soon showed itself: the houses had color but no structure — one flat face, like a texture slapped onto a card. A few steps up the snowy slope revealed the buildings' sides, and color met dimension (5:29-6:20). At just that moment the family of three from the winning photo walked by — and at 1/5 second, they were a blur."},{"t":"img","f":"v07","w":852,"h":480},{"t":"p","x":"接下来的决策发生在几步之内：先想清楚此刻最重要的是什么——是快门速度。凭经验，人物基本斜向走来，1/30 到 1/40 秒就够定格动感；于是光圈立刻推到 F4（他最常用的 24-105mm 镜头最大光圈），ISO 直接提到 3200，曝光补偿保持 -1.7 档，再开连拍模式狂按（视频 6:20-7:50 处）。快门、光圈、ISO 三者的关系烂熟于心，才能在这样的瞬间不假思索。","xe":"The decision took a few steps' worth of time: first decide what matters most right now — shutter speed. Experience said the figures, walking mostly toward the camera at an angle, would freeze at 1/30-1/40 s; so the aperture went straight to f/4 (the widest on his favored 24-105mm), ISO jumped to 3200, exposure compensation held at -1.7 EV, and continuous drive fired in bursts (6:20-7:50). Only with shutter, aperture and ISO second-nature can such a call be made without hesitation."},{"t":"h","x":"04 选片：影子与形态的最佳时刻","xe":"04 Selecting the Frame: Shadows and Gestures"},{"t":"p","x":"连拍选片有两把尺子。第一把是影子：开头几张里人受光、影子落在身后，表现力一般；中间几张影子被压平成一根线，也不好；最佳时刻是灯光从人背后打来、影子朝向镜头、未被遮挡也没有连成线的时候（视频 7:52-8:29 处）。","xe":"Two rulers guide the selection. The first is the shadow: in the early frames the figures are lit with shadows trailing behind — unremarkable; midway the shadows flatten into a single line — also weak; the best moment is when the lamp lights them from behind, throwing shadows toward the camera, unbroken and unstretched (7:52-8:29)."},{"t":"p","x":"第二把是人物形态：有一张三人形态最舒展，手拉手的温馨氛围最突出，前面还有几个路人恰到好处地点缀。更巧的是，影子最佳的时刻，三人正好走到一处被突起的雪挡住的位置——天时地利人和同时到达，才有了最终这张照片（视频 8:29-9:01 处）。","xe":"The second is gesture: one frame catches the trio at their most relaxed, hand in hand, warmth unmistakable, with a few other walkers placed just so in the distance. And by pure fortune, at the very moment the shadows peaked, the three stepped into a spot partly screened by a snowdrift — timing, place and luck converging into the final photograph (8:29-9:01)."},{"t":"h","x":"05 救回 ISO3200 欠曝两档的原图","xe":"05 Rescuing an ISO 3200, Two-Stops-Under Raw"},{"t":"p","x":"后期从找回曝光开始：这张 -1.7 档欠曝的照片，他直接暴力拉伸了 2.5 档把细节拉回来；随后把高光压下来、阴影和黑色色阶提上去，缓解过强的明暗对比，好贴合梦幻的氛围；白平衡稍稍向紫色偏移，色温也别那么冷（视频 9:03-9:52 处）。","xe":"Post begins with rescuing exposure: on this -1.7 EV file he brutally stretched 2.5 stops to pull the detail back; then lowered highlights, lifted shadows and blacks to soften the harsh contrast for a dreamy mood, nudged the white balance slightly toward violet, and warmed the temperature a touch (9:03-9:52)."},{"t":"img","f":"v08","w":852,"h":480},{"t":"p","x":"最重要的一步是降噪。照片用索尼 A7R3 拍摄，宽容度虽强，但 ISO 3200 还欠曝两档、再无中生有地硬拉，噪点不可能低。他在 Camera Raw 的「减少杂色」里提升明亮度降噪——副作用立刻显现：整张照片变得像一幅画，细节全无（视频 9:52-10:54 处）。","xe":"The most crucial step is noise reduction. Shot on a Sony A7R3 — excellent dynamic range, but at ISO 3200, two stops under, stretched out of nothing, noise is inevitable. In Camera Raw he raises the Luminance slider — and the side effect appears at once: the photo turns to paint, detail gone (9:52-10:54)."},{"t":"p","x":"找回细节的第一件工具是锐化：按住 Alt 键拖动滑块可以直观看到锐化作用的范围，他定在 40 左右——建筑轮廓、路灯边缘这些真正需要质感的区域被找回来；而雪和云本来就是柔软的物体，糊一点反而宁静舒服。第二件工具是纹理和清晰度：纹理找回细小的质感，清晰度找回大对比的立体感，两者一提升，画面立刻扎实（视频 10:54-12:23 处）。","xe":"First rescue tool is sharpening: hold Alt while dragging to see exactly what the mask touches — he settled around 40, restoring the edges that matter, building outlines and lamp posts, while snow and clouds, soft subjects by nature, stay smooth and serene. Second comes Texture and Clarity: Texture recovers fine grain, Clarity restores larger contrast, and the image regains its backbone (10:54-12:23)."},{"t":"img","f":"v09","w":852,"h":480},{"t":"p","x":"随后是色彩：蓝色、紫色饱和度稍稍提升，黄色色相微调、饱和度提升，红色和绿色也适当加一点，整张照片更加梦幻；最后用曲线把底部拉起来，消灭死黑的部分（视频 12:23-13:05 处）。到这里，国家地理投稿版的后期就完成了——参赛规则不允许任何改变像素的操作。","xe":"Then color: a touch more saturation in blues, violets, reds and greens, a slight hue shift on yellows — the dream intensifies; finally a curves lift at the bottom to banish true black (12:23-13:05). With that, the National Geographic submission version is done — the rules permit no pixel-altering edits."},{"t":"img","f":"v10","w":852,"h":480},{"t":"h","x":"06 时间合成：高画质的第二个版本","xe":"06 Time Blending: a Second, Higher-Fidelity Version"},{"t":"p","x":"发到社交网络和印上周历的，是另一个版本。拍抓拍之前，他先用 ISO 200、f/8 拍下了一组非常干净的背景；后期把人物从高 ISO 那张里抠出来，与干净底板对齐，混合模式改成变暗，把人物刷出来——两张照片合成之后，画质几乎看不到噪点（视频 13:05-14:31 处）。一张照片，按不同需要处理出多个版本。","xe":"The version posted online and printed on the calendar is another build. Before the burst he had shot clean frames at ISO 200, f/8; in post he masks the figures out of the high-ISO frame, aligns them over the clean plate, sets the blend mode to Darken, and paints them in — the merged file shows virtually no noise (13:05-14:31). One photograph, multiple versions for different needs."},{"t":"img","f":"v11","w":852,"h":480},{"t":"p","x":"Thomas 在结尾把话题拉回本质：买器材不必纠结锐度高百分之零点几，而要了解你的相机擅长什么光线、有什么不足、能否用包围曝光、时间合成、打光去弥补；学参数不必死记硬背，而要理解 ISO、光圈、快门谁该优先，再反推其余；后期同理——理解降噪、锐化、纹理、清晰度背后的原理与互补，才能把一张 ISO 3200 欠曝两档的照片基本救活。技术了熟于胸，最终都是为照片的表达服务（视频 14:31-17:21 处）。","xe":"Thomas closes on essentials: buy gear not over a fraction of sharpness but by knowing what light your camera handles, where it falls short, and whether bracketing, time-blending or lighting can fill the gap; learn settings not by rote but by knowing which of ISO, aperture and shutter to prioritize, then deriving the rest; and in post, understand the principles behind noise reduction, sharpening, texture and clarity — that is how an ISO 3200, two-stops-under file gets rescued. Every technique, mastered, serves the photograph's expression (14:31-17:21)."},{"t":"img","f":"v12","w":852,"h":480},{"t":"quote","x":"1. 到陌生地方先拍无人机情报图，带着情绪、地域符号、秩序美感三个问题去构思；2. 快门优先的抓拍决策：人物斜向走来 1/30-1/40 秒即可，光圈推到最大、ISO 提到 3200、连拍兜底；3. 降噪毁细节，就用锐化找轮廓、用纹理和清晰度找质感，雪与云本就可以柔；4. 高 ISO 底片之外，再拍一张低 ISO 干净底板，时间合成给你第三个高画质版本。","xe":"1. Shoot a drone intel map on arrival and conceive with three questions: mood, regional symbols, order and beauty; 2. For catching people, shutter comes first — 1/30-1/40 s for figures angled toward you, widest aperture, ISO 3200, burst fire as insurance; 3. When noise reduction kills detail, sharpen back the outlines and restore grain with texture and clarity — snow and clouds are allowed to stay soft; 4. Pair the high-ISO frame with a clean low-ISO plate: time blending hands you a third, high-fidelity version."},{"t":"h","x":"欢迎关注托马斯的旅行与摄影攻略","xe":"Follow Thomas for more travel & photography tips"}],"titleEn":"What Does the Raw NatGeo Award Photo Look Like? Shooting and Post-Processing Video"}