{"slug":"post-processing-3-mistakes","title":"摄影后期三大误区！你中招了吗？","author":"Thomas看看世界","date":"2022-04-17","wechat":"https://mp.weixin.qq.com/s?__biz=MzI4NDA5MzE5NQ==&mid=2247495178&idx=1&sn=f6eb08ba6ac0570486f2e1f100f872f8&chksm=eb82106edcf599787a2013bd00e9263146505fa09a930c0a5120be4e29274f19f6a27af7a4aa&scene=21#wechat_redirect","blocks":[{"t":"h","x":"Thomas看看世界","xe":"Thomas Chu Photo"},{"t":"p","x":"在今天的摄影教程中，Thomas会和大家分享3个摄影新手，甚至高手都常有的后期误区。","b":false,"xe":"In today's tutorial, Thomas shares three common post-processing mistakes made by beginners — and even by veterans."},{"t":"img","f":"img-02","w":1080,"h":675},{"t":"p","x":"摄影照片细节是越多越好吗？要不要高光-100，阴影+100？","b":false,"xe":"Is more detail always better in a photo? Should you just drag Highlights to -100 and Shadows to +100?"},{"t":"p","x":"秋色、春色类照片，是色彩越多越鲜艳越好吗？","b":false,"xe":"For autumn or spring color photos, the more colors and the more vivid, the better?"},{"t":"p","x":"山越尖锐、人越瘦高越好吗？","b":false,"xe":"Are sharper peaks and slimmer, taller people always better?"},{"t":"p","x":"看了今天的案例对比教学，或许你会对这些常见误区，有更直观的认识。","b":false,"xe":"After today's case-by-case comparison, you may gain a more intuitive understanding of these common pitfalls."},{"t":"h","x":"视频","xe":"Video"},{"t":"bili","bv":"BV1UY4y1a7Wn","bpic":"bili-1","bt":"摄影后期三大误区！你中招了吗？"},{"t":"p","x":"这一篇是上面视频的完整图文整理。Thomas 把这期 9 分钟口播里的三大后期误区全部落成文字，并配上视频关键帧截图——Lightroom 参数面板的实拍演示、黄山与冰洞的细节取舍、阴雨天与秋色的色彩对比，以及沙丘变形的前后对照。适合先看图建立框架，再到视频里听细节。","b":false,"xe":"This is the fully illustrated companion to the video above: Thomas turned this 9-minute talk into text and paired it with keyframe screenshots — live Lightroom panels, the detail trade-offs in the Huangshan and ice-cave examples, color comparisons on rainy and autumn scenes, and the before/after of dune reshaping. Skim it here for the framework, then dive into the video for the details."},{"t":"p","x":"先看总览。整期视频围绕三个误区展开：细节越多越好、色彩越多越鲜艳越好、山越尖人越瘦越好。下面这张「误区一」要点卡截自视频 0:16 处——三个误区在片中都会用这样的卡片提示，下文逐一展开。","b":false,"xe":"Start with the overview. The whole video revolves around three mistakes: more detail is better, more vivid colors are better, and sharper peaks or thinner people are better. The \"Mistake No.1\" card below, captured at 0:16 in the video, is the first of three title cards — each mistake is unpacked below."},{"t":"img","f":"v01","w":768,"h":480},{"t":"h","x":"01 细节不是越多越好","xe":"01 More Detail Is Not Always Better"},{"t":"p","x":"第一个误区，是认为照片的细节越多越好。以一张 HDR 日光照片为例，常见的操作是高光 -100、阴影 +100，再把清晰度、锐度、去雾统统狂加，恨不得榨出每一处高光和阴影里的细节（视频 0:26 处）。","b":false,"xe":"The first mistake is believing that more detail is always better. On an HDR daylight shot, the typical move is Highlights -100, Shadows +100, then maxing out Clarity, Sharpening and Dehaze, as if every last highlight and shadow detail had to be squeezed out (at 0:26 in the video)."},{"t":"img","f":"v02","w":768,"h":480},{"t":"p","x":"但这样处理出来的画面完全没有明暗层次，也完全不符合肉眼的真实感受。一张真正的好照片，该亮的地方要亮起来，该暗的地方就让它暗下去——那些不承载氛围的高光和阴影细节，本来就不需要展现（视频 0:43 处）。下面这张才是这张照片该有的样子。","b":false,"xe":"Yet the result has no light-and-shadow hierarchy at all and feels nothing like what our eyes actually see. In a truly good photo, what should be bright stays bright and what should be dark is allowed to go dark — highlight and shadow detail that carries no mood never needed showing (at 0:43 in the video). The frame below is what this photo should look like."},{"t":"img","f":"v03","w":768,"h":480},{"t":"p","x":"黄山这张照片把道理讲得很清楚。左边是阴影做了提升的版本：前景三座山峰有细节、有崖壁的纹理，但这样的纹理并不是我们想要的氛围——我们真正想要的是远山的层次（视频 1:13 处）。右边我直接把前景三峰选出来填充成黑色，杂乱细节一隐去，画面反而更干净、更有力量。","b":false,"xe":"The Huangshan example makes the point clearly. On the left, shadows have been lifted: the three foreground peaks show detail and cliff texture, yet that texture is not the mood we are after — what we want is the layering of the distant ranges (at 1:13 in the video). On the right I selected the three foreground peaks and filled them solid black; with the clutter hidden, the image becomes cleaner and stronger."},{"t":"img","f":"v04","w":768,"h":480},{"t":"p","x":"冰洞照片是同样的思路。人物背后的冰面细节杂乱、非常不美观，我把逆光方向的背景整体做成过曝的效果，把细节隐去，反而营造出一种光线照射进来的感觉（视频 2:00 处）。","b":false,"xe":"The ice-cave shot follows the same logic. The ice behind the figure was cluttered and genuinely ugly, so I pushed the backlit background into a mild overexposure that hides the detail and creates the feeling of light pouring in (at 2:00 in the video)."},{"t":"img","f":"v05","w":768,"h":480},{"t":"p","x":"阴雨天的照片更是重灾区。高光 -100、阴影 +100、锐度和去雾狂加之后，细节确实「哇好多」，但一点美的感觉都没有（视频 2:13 处）。真正理解「细节不是越多越好」之后你就会知道：想表现的是前面悬崖上的村庄，对岸的村庄就可以选出来做雾化，近景的村庄再做一些明暗塑造、有主有次（视频 2:44 处）。","b":false,"xe":"Overcast rainy shots suffer most. After Highlights -100, Shadows +100 and heavy sharpening and dehaze, there is indeed \"wow, so much detail\" — and no beauty at all (at 2:13 in the video). Once you truly grasp that detail is not the goal, the answer is obvious: if the subject is the village on the near cliff, select the village across the valley and fog it out, then shape light and shadow on the near one with a clear hierarchy (at 2:44 in the video)."},{"t":"img","f":"v06","w":768,"h":480},{"t":"img","f":"v07","w":768,"h":480},{"t":"h","x":"02 色彩不是越多越鲜艳越好","xe":"02 Color Is About Pairing, Not Quantity"},{"t":"p","x":"第二个误区是色彩越多、越鲜艳越好。面对春色秋色，或者阴雨天拍的照片——原图色彩肯定不好——常见的操作是自然饱和度加 100、饱和度狂拉，甚至三原色和 HSL 里的饱和度也全部拉满（视频 3:05 处）。","b":false,"xe":"The second mistake: the more colors and the more vivid, the better. Facing spring or autumn foliage, or a rainy-day shot whose original colors look dull, the reflex is Vibrance +100, Saturation maxed, and the saturation sliders in Calibration and HSL all pushed to the limit as well (at 3:05 in the video)."},{"t":"img","f":"v08","w":768,"h":480},{"t":"p","x":"拉出来的结果，就是水面里青、紫、绿、蓝五颜六色挤在一起，整体饱和度爆表，但并不美。真正好看的照片，色彩一定是有搭配的——明度、饱和度、色相都要有高低错落。像下面这组对比：左边的水面五颜六色，右边的水面是一个干净的青色，同时整体带着冷暖搭配，效果完全不同（视频 3:49 处）。","b":false,"xe":"The result is water crowded with cyan, purple, green and blue at screaming saturation — colorful, not beautiful. In a genuinely good photo, colors are always paired: brightness, saturation and hue all need rises and falls. Compare the pair below: the water on the left is a jumble of colors, while on the right it is one clean shade of cyan within an overall warm-cool scheme — a completely different effect (at 3:49 in the video)."},{"t":"img","f":"v09","w":768,"h":480},{"t":"p","x":"大白天拍的秋色同理：全图饱和度狂拉只会让人不舒服。把天空蓝色的饱和度和明度稍稍压低，再把左下角的草地和中间的草地——同是绿色——人为做出明暗与饱和度的区分，画面立刻就顺眼了（视频 4:45 处）。顺带一提，真正「高饱和」的风格其实是有个性的创作者刻意为之，比如糖果色、卡通色，或者蜷川实花这类摄影师的标志性色调（视频 3:56 处），与盲目拉饱和是两回事。","b":false,"xe":"The same goes for autumn scenes shot in broad daylight: a global saturation boost is simply uncomfortable. Dial the saturation and brightness of the blue sky down a touch, then deliberately separate the grass in the lower-left corner from the grass in the middle — same green, different brightness and saturation — and the image instantly settles (at 4:45 in the video). A side note: truly \"high-saturation\" looks are deliberate signatures of distinctive creators — candy colors, cartoon colors, or the trademark palette of photographers like Mika Ninagawa (at 3:56 in the video) — which is another thing entirely from blindly boosting saturation."},{"t":"p","x":"我最终这张秋色照片，饱和度其实并不高：把原图里绿色、蓝色的饱和度和明度压低之后，只有金色被凸显出来——它的金色饱和度远不及上一张，反而更突出、更分明。为了让色彩更统一，我也没有像很多人想象的那样，从金色里再拉出黄色和红色，而是做了一定的统一（视频 5:13 处）。","b":false,"xe":"My final autumn frame is actually not very saturated: with the greens and blues desaturated and darkened, only the gold stands out — its golden saturation is far lower than in the previous version, yet the gold reads far more distinctly. To keep the palette unified I did not, as many would imagine, split the gold into yellows and reds, but unified it instead (at 5:13 in the video)."},{"t":"img","f":"v10","w":768,"h":480},{"t":"h","x":"03 山不必更尖、人不必更瘦","xe":"03 No Sharper Peaks, No Thinner People"},{"t":"p","x":"第三个误区：山越尖、人越瘦越好。社交平台上常见这样的照片：山峰带有明显的像素拉伸感和颗粒感，一眼就不真实。中国如果真有这么尖锐的雪山，一般都会是梅里雪山、南迦巴瓦这样的知名山峰；一座不知名的山峰尖锐到这个程度，就太夸张了。普通景点照片里被「拉老高」的山峰，既假，也失去了地理上的意义（视频 5:57 处）。","b":false,"xe":"The third mistake: the sharper the peaks and the thinner the people, the better. Social platforms are full of photos whose peaks show obvious pixel-stretching and grain — unreal at a glance. If China truly had such razor-sharp snow mountains, they would be famous ones like Meili or Namcha Barwa; an unknown summit this sharp is simply exaggerated. Peaks \"stretched tall\" behind ordinary tourist spots not only look fake, they also lose their geographic meaning (at 5:57 in the video)."},{"t":"img","f":"v11","w":768,"h":480},{"t":"img","f":"v12","w":768,"h":480},{"t":"p","x":"沙漠照片也一样：有人把沙丘拉成金字塔甚至更尖的形状，这就直接违反了物理规律。当然，这不是说拉伸、变形和液化不能用，也不是说不能瘦脸——但变形一定要适度（视频 6:47 处）。","b":false,"xe":"Desert photos are no different: some people stretch dunes into pyramids or sharper, which flatly violates physics. That said, stretching, warping and Liquify are not forbidden, and neither is slimming a face — but the deformation has to stay moderate (at 6:47 in the video)."},{"t":"img","f":"v13","w":768,"h":480},{"t":"p","x":"这张沙漠照片里，我对后面的沙丘做了适度变形：原图左侧线条缓、右侧线条陡，画面左右失衡；变形后前后沙丘斜率对称、线条平行，既有平衡感又有秩序的美感，而且这样的沙丘斜度在自然界非常常见——既满足审美，也符合科学事实（视频 7:21 处）。反过来，把沙丘拉得过分尖锐，平衡与平行的结构瞬间被打破，和谐感和韵律感反而消失。瘦脸瘦身、变白去痘也是同一个道理：保持自然与真实，别把人修成蛇精脸（视频 8:31 处）。","b":false,"xe":"In this desert frame I reshaped the rear dunes in moderation: the original had gentle slopes on the left and steep ones on the right, leaving the composition lopsided. After the reshape, front and rear dunes mirror each other in slope with parallel lines — balanced, orderly, and rhythmic — and dunes at such angles are common in nature, so the result satisfies the eye and stays scientifically plausible (at 7:21 in the video). Push the dune much sharper, though, and the balance and parallel structure collapse at once, taking the harmony and rhythm with them. Slimming faces and bodies, whitening and blemish removal obey the same rule: keep it natural and believable — no snake-spirit jawlines (at 8:31 in the video)."},{"t":"quote","x":"1. 细节服务于氛围：该亮则亮、该暗则暗，不承载情绪的高光阴影细节果断隐去；2. 色彩贵在搭配：压低干扰色、突出主色，冷暖统一比全图拉高饱和更耐看；3. 变形与液化可以为平衡和秩序服务，但幅度必须适度，符合自然与科学常识；4. 后期的目标不是堆砌参数，而是让画面回到你真正想表达的氛围与主次。","xe":"1. Detail serves mood: let what should be bright stay bright and what should be dark go dark, and hide highlight/shadow detail that carries no emotion; 2. Color is about pairing: suppress distracting hues and let the dominant one lead — a unified warm-cool scheme outlasts any global saturation boost; 3. Warping and Liquify can serve balance and order, but only in moderation, consistent with nature and common sense; 4. The goal of post-processing is not stacking sliders but bringing the image back to the mood and hierarchy you want to express."},{"t":"h","x":"PPT","xe":"PPT"},{"t":"img","f":"img-03","w":960,"h":600},{"t":"img","f":"img-04","w":960,"h":600},{"t":"img","f":"img-05","w":960,"h":600},{"t":"img","f":"img-06","w":960,"h":600},{"t":"img","f":"img-07","w":960,"h":600},{"t":"img","f":"img-08","w":960,"h":600},{"t":"img","f":"img-09","w":960,"h":600},{"t":"img","f":"img-10","w":960,"h":600},{"t":"img","f":"img-11","w":960,"h":600},{"t":"img","f":"img-12","w":960,"h":600},{"t":"img","f":"img-13","w":960,"h":600},{"t":"img","f":"img-14","w":960,"h":600},{"t":"img","f":"img-15","w":960,"h":600},{"t":"img","f":"img-16","w":960,"h":600},{"t":"img","f":"img-17","w":960,"h":600},{"t":"img","f":"img-18","w":960,"h":600},{"t":"img","f":"img-19","w":960,"h":600},{"t":"img","f":"img-20","w":960,"h":600},{"t":"img","f":"img-21","w":960,"h":600},{"t":"img","f":"img-22","w":960,"h":600},{"t":"img","f":"img-23","w":960,"h":600},{"t":"img","f":"img-24","w":960,"h":600},{"t":"img","f":"img-25","w":960,"h":600}],"titleEn":"Three Big Post-Processing Mistakes: Are You Guilty of Them?"}