{"slug":"no-red-clouds-3-photos","title":"没有红云如何拍？分享三张风光照片的前后期思路","author":"Thomas看看世界","date":"2019-05-05","wechat":"https://mp.weixin.qq.com/s?__biz=MzI4NDA5MzE5NQ==&mid=2247488909&idx=1&sn=cf1eb0a45f8e60ab12235c4c98bfc00d&chksm=eb81ebe9dcf662ffd5057acf5fa3357b7f38040f788e429c233353fdc4b2b9cd415bcd052873&scene=21#wechat_redirect","blocks":[{"t":"h","x":"Thomas看看世界","xe":"Thomas Chu Photo"},{"t":"p","x":"对于摄影前后期而言，很多时候技术只是基础，而思路才是关键。","b":false,"xe":"In photography, both in-camera and in post, technique is often just the foundation — ideas are the key."},{"t":"p","x":"不同的摄影师有不一样的取景、构图、调色想法，如果不能感受其创作思路，仅仅从表面上机械的模仿，很难理解其核心，更难提更进一步的创新。","b":false,"xe":"Different photographers have different ideas about framing, composition and grading. If you cannot feel their creative thinking and only imitate mechanically from the surface, you can hardly grasp the core, let alone innovate further."},{"t":"p","x":"今天托马斯就会分享几张自己，在非红云天气下的照片拍摄思路，希望对风光摄影初学者有所帮助。","b":false,"xe":"Today Thomas will share the shooting ideas behind several of his photos taken without red clouds — hopefully helpful for landscape photography beginners."},{"t":"h","x":"1. 雨天：古堡晚秋","xe":"1. Rainy Day: A Castle in Late Autumn"},{"t":"img","f":"img-02","w":1068,"h":1600},{"t":"h","x":"拍摄思路：","xe":"Shooting ideas:"},{"t":"p","x":"阴雨天可能并不是大家喜欢的摄影天气，但其实雨天也有它独特的氛围，比如安静、萧瑟或者低沉。","b":false,"xe":"Overcast, rainy weather may not be everyone's favorite for photography, but rain has its own unique moods — quiet, bleak, or subdued."},{"t":"p","x":"因为雨天本身比较干净，如果我们使用1000倍减光镜和三脚架，通过长曝光，就能进一步的消除天空和水面上的多余细节，让画面更加简洁清爽。","b":false,"xe":"Because rainy scenes are inherently clean, using a 1000x ND filter and a tripod for a long exposure can further remove excess detail from sky and water, making the picture simpler and cleaner."},{"t":"p","x":"下图就是我拍摄当天的天气，阴雨绵绵，如果按照普通的取景构图，那么照片就会非常的平淡。","b":false,"xe":"The image below shows the weather on the day I shot — drizzly and gray. With an ordinary composition, the photo would have been very plain."},{"t":"img","f":"img-03","w":1080,"h":721},{"t":"p","x":"如果采用明信片式的经典构图，很难拍出摄影师的个人视角和想法，而且天气也不是很好，更加难以让作品脱颖而出。","b":false,"xe":"With a postcard-style classic composition, it is hard to bring out a photographer's personal perspective and ideas — and with bad weather on top, the work struggles even more to stand out."},{"t":"img","f":"img-04","w":1080,"h":484},{"t":"p","x":"因此我尝试在构图中取入更丰富的元素，比如当时正是秋天，古堡旁边有不少的树木已经变黄变红。","b":false,"xe":"So I tried to include richer elements in the composition. It was autumn, and many trees beside the castle had turned yellow and red."},{"t":"p","x":"如果我取入这些植物，那么不仅可以让照片不是机械的照搬经典构图，而且增加了画面的层次感和携带的信息量。","b":false,"xe":"Including these plants not only frees the photo from mechanically copying the classic composition, but also adds layering and information to the frame."},{"t":"img","f":"img-05","w":1080,"h":721},{"t":"p","x":"类似上面的构图，虽然取入的秋色，但还差一点意思。","b":false,"xe":"Compositions like the one above include autumn colors, but something is still missing."},{"t":"p","x":"首先因为是阴雨天，天空显得比较单调。其次取入的灌木稍显凌乱。","b":false,"xe":"First, the overcast rainy sky looks monotonous. Second, the bushes included are slightly messy."},{"t":"p","x":"于是我在古堡附近探索了一番，找到了这个不一样的角度。","b":false,"xe":"So I explored around the castle and found this different angle."},{"t":"img","f":"img-06","w":1068,"h":1600},{"t":"p","x":"这个构图中，上面的树枝和下面的岩石，让画面内容上更加丰富，空间上更加立体。","b":false,"xe":"In this composition, the branches above and the rocks below enrich the content and make the space more three-dimensional."},{"t":"p","x":"框架式构图不仅保留了城堡的主体作用，而且巧妙的掩盖了雨天单调的天空。","b":false,"xe":"The frame composition not only preserves the castle's role as the subject, but also cleverly hides the monotonous rainy sky."},{"t":"p","x":"当然我最喜欢这个构图的，还是树上的黄叶，与岩石上相呼应的落叶。这些线索很好的体现了深秋的时间。","b":false,"xe":"What I love most about this composition, though, is the yellow leaves on the tree echoing the fallen leaves on the rocks — clues that beautifully convey late autumn."},{"t":"p","x":"落下的树叶在氛围上，也仿佛让阴雨天下的古堡，更加显得萧瑟了一些。","b":false,"xe":"The fallen leaves also seem to make the castle in the rain feel even more forlorn."},{"t":"p","x":"拍摄参数为：","b":false,"xe":"Shooting parameters:"},{"t":"p","x":"尼康D750，海大ND1000减光镜，24mm，ISO50，曝光5秒。","b":false,"xe":"Nikon D750, Haida ND1000 filter, 24mm, ISO 50, 5-second exposure."},{"t":"img","f":"img-07","w":1068,"h":1600},{"t":"p","x":"后期时，我使用戴尔XPS15笔记本电脑，主要对原图进行了颜色上的调整。","b":false,"xe":"In post, using my laptop, I mainly adjusted the colors of the raw file."},{"t":"p","x":"首先黄叶与古堡的颜色进行统一，让他们在视觉上相互呼应。","b":false,"xe":"First, I unified the colors of the yellow leaves and the castle so they echo each other visually."},{"t":"p","x":"其次给天空和水面添加了青蓝色调，一方面渲染清冷的雨天氛围，另一方面也给画面增加了冷暖色的对比。","b":false,"xe":"Second, I added teal-blue tones to the sky and water — on one hand rendering the cold, rainy mood, on the other adding a warm-cool contrast to the picture."},{"t":"h","x":"2. 晴天正午：童话小镇","xe":"2. Sunny Noon: A Fairytale Town"},{"t":"img","f":"img-08","w":1080,"h":720},{"t":"h","x":"拍摄思路：","xe":"Shooting ideas:"},{"t":"p","x":"晴天的正午，也是风光摄影师们并不太喜欢的天气。正午的光线十分强烈，画面明暗反差很大，而且图像中各种反光和阴影，很容易显得凌乱。","b":false,"xe":"Noon on a sunny day is also a time landscape photographers don't much like. The midday light is very harsh, the contrast is strong, and the various reflections and shadows easily make the image look messy."},{"t":"p","x":"但正午并非一无是处，强烈的光线带来了饱和的色彩，特别是在使用偏振镜时。","b":false,"xe":"But noon is not useless — the strong light brings saturated colors, especially when using a polarizer."},{"t":"p","x":"而画面明暗反差大的缺点，可以通过后期提亮阴影压暗高光解决。","b":false,"xe":"The drawback of strong tonal contrast can be solved in post by lifting shadows and holding down highlights."},{"t":"p","x":"画面凌乱的缺陷，则可以通过取景来扬长避短，尽量拍摄画面整洁干净的构图。","b":false,"xe":"The flaw of a messy scene can be handled through framing — trying to shoot clean, tidy compositions."},{"t":"img","f":"img-09","w":1080,"h":721},{"t":"p","x":"上面的构图就是我在当天中午进行的一个尝试，突出拍摄远山的层次和线条感，从而避开影调上的弱点。","b":false,"xe":"The composition above was an attempt I made that noon — emphasizing the layering and lines of the distant mountains to avoid the tonal weaknesses."},{"t":"p","x":"后面我们开车到一处并不知名的小镇上时，我突然发现了远处小山坡上的教堂，教堂周围是秋天金色的树林，远方是巍峨的雪山剪影，建筑与周围的自然环境很好的融合在了一起。","b":false,"xe":"Later, as we drove to an unknown little town, I suddenly spotted a church on a distant hillside, surrounded by golden autumn woods, with majestic snow mountain silhouettes beyond — the building blended beautifully with its natural surroundings."},{"t":"img","f":"img-10","w":1080,"h":721},{"t":"p","x":"于是我赶紧让我朋友停车，并取出我的尼康d750和24-120镜头，抓拍了下了这个山区教堂。","b":false,"xe":"I quickly asked my friend to stop the car, took out my Nikon D750 and 24-120mm lens, and captured this mountain church."},{"t":"p","x":"因为正午光线强烈，我前期使用了海大偏振镜，来消除植被反光，并提升画面饱和度。","b":false,"xe":"Because the midday light was harsh, I used a Haida polarizer in-camera to remove reflections from the vegetation and boost color saturation."},{"t":"p","x":"构图上我把教堂放在画面右上角，这样山坡从对角线穿过，尽量少取入右侧凌乱的房屋和树林。","b":false,"xe":"For composition, I placed the church at the upper right of the frame, letting the hillside cross diagonally, and included as little as possible of the messy houses and trees on the right."},{"t":"p","x":"拍摄参数为：","b":false,"xe":"Shooting parameters:"},{"t":"p","x":"尼康D750，海大偏振镜，100mm，ISO100，f8，1/80s。","b":false,"xe":"Nikon D750, Haida polarizer, 100mm, ISO 100, f/8, 1/80s."},{"t":"img","f":"img-11","w":1080,"h":721},{"t":"p","x":"后期我进行了以下处理：","b":false,"xe":"In post I made the following adjustments:"},{"t":"p","x":"首先做成了青橙色调，突出一种阳光下的梦幻感。地景颜色统一为偏橙色，防止地景太乱。","b":false,"xe":"First I applied a teal-and-orange grade to highlight a dreamy feel in the sunlight. The land colors were unified toward orange to keep the foreground from looking messy."},{"t":"p","x":"远山适当的进行了模糊，强化空气透视。山的交界处进行了局部的对比提升，增强层次感。","b":false,"xe":"The distant mountains were appropriately blurred to strengthen aerial perspective. Local contrast was raised where the ridges meet, enhancing the sense of depth."},{"t":"p","x":"利用Camera Raw中的径向滤镜，营造出画面左侧光线照耀的效果。","b":false,"xe":"I used the radial filter in Camera Raw to create the effect of light shining from the left side of the frame."},{"t":"p","x":"最终成图如下：","b":false,"xe":"The final image is as follows:"},{"t":"h","x":"3. 风雪天：北极街道","xe":"3. Snowstorm: An Arctic Street"},{"t":"img","f":"img-12","w":1080,"h":720},{"t":"h","x":"拍摄思路：","xe":"Shooting ideas:"},{"t":"p","x":"遇到暴风雪，到底是在屋子里躲避？还是外出进行拍摄？","b":false,"xe":"When a snowstorm hits, should you hide indoors — or go out and shoot?"},{"t":"p","x":"风雪天几乎是灰蒙蒙的一片，通透度很低，层次感极差，并不适合表现特别宏大的场景。","b":false,"xe":"A snowstorm is an almost uniformly gray scene with very low clarity and poor layering — not suited to particularly grand scenes."},{"t":"p","x":"但风雪天也有其独特的情绪，或冰冷残酷，或与世隔绝。","b":false,"xe":"But snowstorms have their own unique emotion — icy and harsh, or cut off from the world."},{"t":"p","x":"而且雪天的地面比较干净，一些在其他天气下非常平庸的场景，也能在雪天中，通过色彩或者几何结构的对比，显示出非常吸引人的一面。","b":false,"xe":"Besides, snowy ground is relatively clean, and scenes that look mediocre in other weather can reveal a fascinating side in the snow through contrasts of color or geometric structure."},{"t":"img","f":"img-13","w":1080,"h":720},{"t":"p","x":"今年3月我在格陵兰岛，就遇到了好几场暴风雪。","b":false,"xe":"This March in Greenland, I ran into several snowstorms."},{"t":"p","x":"暴风雪中的能见度很低，远处那些乱七八糟的背景都消失不见，只能看到近处的景物。","b":false,"xe":"Visibility in a snowstorm is very low; all the messy backgrounds in the distance disappear, and only nearby objects remain visible."},{"t":"p","x":"地面上东倒西歪的物体也全部被积雪覆盖，成为了纯白色的底板。","b":false,"xe":"The objects scattered on the ground are all covered by snow, becoming a pure white baseboard."},{"t":"p","x":"此时我们需要从干净的雪景中，提取出影调的层次，色彩的变化和结构的规律，从而表现出雪景中的美。","b":false,"xe":"What we need to do then is extract tonal layering, color variation and structural patterns from the clean snow scene, to express its beauty."},{"t":"img","f":"img-14","w":1080,"h":720},{"t":"p","x":"上面一张图，我主要是发现了房屋结构上的递进，与色彩的变化。","b":false,"xe":"In the image above, I mainly noticed the progression of the buildings' structure and the variation of color."},{"t":"p","x":"而下一个场景，我则很喜欢地面上的一根根电线杆所形成的结构之美，以及远处房屋的色彩。当然画面中走过的行人，也给画面增色不少。","b":false,"xe":"In the next scene, I loved the structural beauty of the rows of utility poles on the ground and the colors of the distant houses. And of course, the pedestrian crossing the frame adds a lot to the picture."},{"t":"p","x":"如果是在平常，这个街景应该是很凌乱的。但风雪天气，让我有机会从这里提炼出结构与色彩之美。","b":false,"xe":"Ordinarily, this street scene would be very messy. But the snowy weather gave me the chance to distill beauty in structure and color from it."},{"t":"p","x":"拍摄参数为：","b":false,"xe":"Shooting parameters:"},{"t":"p","x":"索尼A7R3，94mm，ISO200，f7.1，1/125s。","b":false,"xe":"Sony A7R3, 94mm, ISO 200, f/7.1, 1/125s."},{"t":"img","f":"img-15","w":1080,"h":720},{"t":"p","x":"后期时，我首先进行了色白平衡的恢复。准确的白平衡，才不至于让所有物体都带上蓝色偏色，无法显出原来的丰富色彩。","b":false,"xe":"In post, I first restored the white balance. Only accurate white balance keeps every object from carrying a blue cast, so the scene's rich colors can show."},{"t":"p","x":"地面我进行了大幅度的后期提亮，还有用图章去掉了很多杂物，让地景更加干净。干净的画面，才能更加突出我想表现的物体。","b":false,"xe":"I brightened the ground substantially and used the clone stamp to remove a lot of clutter, making the foreground cleaner — a clean picture better highlights what I want to express."},{"t":"p","x":"而我想着重表现的电线杆和房屋，我则进行了影调和色彩上的加强，让他们在画面中更加醒目。","b":false,"xe":"For the utility poles and houses I wanted to emphasize, I strengthened tonality and color so they stand out in the frame."},{"t":"p","x":"原图中其实是在下雪的，但雪的颗粒太小，氛围感不强。因此我还用画笔自己画出了较大的雪花，强化风雪的气氛。","b":false,"xe":"It was actually snowing in the raw file, but the snow grains were too small to carry much atmosphere. So I painted larger snowflakes with the brush myself to strengthen the snowstorm mood."},{"t":"p","x":"最终后期效果如下：","b":false,"xe":"The final post-processing result is as follows:"},{"t":"p","x":"希望以上的思路分享对您有帮助。","b":false,"xe":"I hope the ideas shared above are helpful to you."},{"t":"p","x":"当然托马斯在拍摄和后期时，还有很多考虑不周，或者画蛇添足的地方，欢迎大家在评论区谈谈你的看法。","b":false,"xe":"Of course, Thomas surely has things to improve — or overcooked — in both shooting and post. Feel free to share your views in the comments."},{"t":"h","x":"欢迎关注托马斯的旅行与摄影攻略","xe":"Follow Thomas for more travel and photography tips"}],"titleEn":"No Red Clouds? The Front-and-Back-End Ideas Behind Three Landscape Photos"}