{"slug":"post-processing-restraint","title":"谈谈风光摄影后期的尺度","author":"Thomas看看世界","date":"2018-03-22","wechat":"https://mp.weixin.qq.com/s?__biz=MzI4NDA5MzE5NQ==&mid=2247486628&idx=2&sn=e43bb534ec6628fa7dfbc814a85a50dc&chksm=eb81f2c0dcf67bd6bf31db6c4208fa3a0ed3bdfd32d11a09e75b41d5f7737f433e145031194c&scene=21#wechat_redirect","blocks":[{"t":"h","x":"到","xe":"Preface"},{"t":"p","x":"今天为止，其中一个我被人问得最多的问题是你怎么用Photoshop处理图片，而不是你是否有用Photoshop。所以我想摄影发展到今日这个地步，应该大多数人已经接受了Photoshop的存在，并且理解photoshop的作用----数码暗房。当然也不乏少数人会问我某张图片是否PS出来，真的有这种地方么之类的问题。鉴于如今科技的进步，电影影像效果的先进等，我理解为什么有一些人会这样问我。不同人对后期处理的尺度和底线都不一样，此文谨表达和讨论一些我的看法，纯粹抛砖引玉。欢迎大家在文章底下讨论和评论。","b":false,"xe":"To date, one of the questions I've been asked most is not whether I use Photoshop, but how I use it. So I believe that by now most people have accepted Photoshop's existence and understood its role — the digital darkroom. Of course, a few people still ask me whether a certain image was 'Photoshopped', or whether such a place really exists. Given today's technology and the sophistication of cinematic effects, I understand why some people ask. Everyone has a different threshold and bottom line for post-processing; this article merely expresses and discusses some of my views — just casting a brick to attract jade. Feel free to discuss and comment below."},{"t":"p","x":"后期photoshop是很强大，但并不是无所不能。目前并没有后期工具能把一个不好的构图改成一个好的构图，或凭空创造出精彩自然的风景和光线。也许日后科技进一步发展，Photoshop能做到以上所说的。","b":false,"xe":"Photoshop in post is powerful, but not omnipotent. No current post tool can turn a bad composition into a good one, or create wonderful, natural scenery and light out of thin air. Perhaps one day, as technology advances, Photoshop will be able to do that."},{"t":"p","x":"对于风光摄影师来说，不管后期技术多么强大，仍然需要在户外足够长的时间去探索拍摄景物以及追寻独特的自然光线气氛，不断尝试不同的拍摄想法和完善自己前期的技术，不断从失败和尝试中总结经验教训，才能得到精彩的作品。理解了这点，对于后期的完全依赖自然减少，并不会老是想着单纯利用后期而得到精彩的作品。","b":false,"xe":"For landscape photographers, no matter how powerful post-processing becomes, we still need to spend enough time outdoors exploring subjects and chasing unique natural light, constantly trying new shooting ideas, improving our in-camera skills, and learning from failures and attempts — only then can we get wonderful works. Understanding this naturally reduces total reliance on post, and stops us from expecting great work from post alone."},{"t":"p","x":"当然，有些人说目前不是有很多创意风光摄影么，也就是前期拍摄不同元素题材然后后期去“创造”出一张风光作品。是的没错，这的确也是艺术的一种形式。我并没有反对这种形式，相反我也同样享受这类型的风光作品，例如像Benjamin Everett 和 Michal Karcz这类的艺术创作者。","b":false,"xe":"Of course, some may say there is plenty of creative landscape photography now — shooting different elements in-camera and then 'creating' a landscape work in post. Yes, that is indeed a form of art. I don't object to it; on the contrary, I also enjoy this kind of landscape work, from artists like Benjamin Everett and Michal Karcz."},{"t":"p","x":"Benjamin Everett","b":false,"xe":"Benjamin Everett"},{"t":"img","f":"img-01","w":640,"h":62},{"t":"img","f":"img-02","w":640,"h":354},{"t":"p","x":"今年2018年哈苏大师风景类得奖者，他的作品既不是现实主义，也非超现实主义，我觉得更多是不断探寻着现实物质与精神的结合，欣赏他的作品，常常会发现这一切取材于现实却又有不太真实的朦胧感。","b":false,"xe":"The 2018 Hasselblad Masters landscape winner: his work is neither realism nor surrealism — I feel it constantly explores the union of physical reality and spirit. Viewing his work, you often find everything drawn from reality yet wrapped in a hazy, not-quite-real feeling."},{"t":"p","x":"Michal Karcz","b":false,"xe":"Michal Karcz"},{"t":"img","f":"img-03","w":640,"h":332},{"t":"p","x":"波兰摄影师、设计师。学习艺术出身的他，善于将绘画和摄影结合起来，创作出另外一个世界的画面。他创作的作品常常影响观众的感情，并带领观众进入另外一个世界，从现实中抽离。他的作品风格神秘、迷离和凝重。","b":false,"xe":"A Polish photographer and designer. Trained in fine art, he excels at combining painting and photography to create images of another world. His works often stir the viewer's emotions, leading them out of reality into another realm. His style is mysterious, dreamlike and solemn."},{"t":"p","x":"如果你十分喜欢以上这种偏创意型的风光摄影，那完全可以去学习和追求，这并没有任何错。","b":false,"xe":"If you love this kind of creative landscape photography, by all means learn and pursue it — there is nothing wrong with that."},{"t":"p","x":"如果你像我一样是一名自然爱好者，希望自己所拍摄的景物能在现实中被人看到，那么你可以继续往下看我对于风光作品尺度和底线的看法。","b":false,"xe":"If, like me, you are a nature lover who hopes the scenes you photograph can be seen by others in reality, then read on for my views on the acceptable limits and bottom line of landscape work."},{"t":"img","f":"img-04","w":152,"h":152},{"t":"h","x":"景物的真实","xe":"The Authenticity of Scenery"},{"t":"img","f":"img-05","w":152,"h":152},{"t":"p","x":"基本上我的Raw文件都会被我尽量充分利用，我会尽可能地去榨取出最好的颜色、对比度、细节等等，如果Raw文件中完全没有颜色、光线、景物等元素基底，是很难或者不可能去凭空捏造。就算是创意类型的风光摄影作品，也是基于部分现实的颜色、光线、景物基础上去创作。","b":false,"xe":"Basically, I make the fullest possible use of my Raw files — I try to squeeze out the best color, contrast, detail and so on. If a Raw file contains no basis of color, light or scenery at all, it is very hard or impossible to fabricate them out of nothing. Even creative landscape works are built on a partial foundation of real color, light and scenery."},{"t":"img","f":"img-06","w":640,"h":438},{"t":"p","x":"《Fulfill the Dream》","b":false,"xe":"《Fulfill the Dream》"},{"t":"p","x":"最近有人问我这张图片的真实性，西藏真的有这么一个地方么。答案是有的，在此也po一张手机拍的图片。","b":false,"xe":"Someone recently asked me about the authenticity of this image — does such a place really exist in Tibet? The answer is yes, and here I also post a phone snapshot of it."},{"t":"img","f":"img-07","w":640,"h":480},{"t":"p","x":"对于我来说，我所拍摄的风光作品是公开给大众欣赏观看的，如果有人到我所拍摄的地点却发现其实并没有我所拍摄的风光作品中的湖、山、溪流等实际存在的景物，这是一场“悲剧”和“灾难”，所以我希望有一天同样有人到达这个地方的时候能去欣赏和获得和我拍摄时同样的感受，这非常重要。因为这是摄影艺术和现实之间的独特联系，我不想去破坏它。","b":false,"xe":"For me, my landscape works are shown to the public. If someone travels to the place I photographed and finds that the lake, mountain or stream in my work doesn't actually exist, that would be a 'tragedy' and a 'disaster'. So I hope that when someone arrives at that place one day, they can appreciate it and feel what I felt when shooting — that matters enormously. It is the unique bond between photographic art and reality, and I don't want to break it."},{"t":"p","x":"举个例子，我所认为的偏写实的风光摄影，并不是把某一个地方的瀑布移到另外一个地方，或者把某处山峰移接到另外一个地方，这是违背了景物的真实。但是如果从画面美学的角度上，把一个拍摄点附近拍摄的花稍微挪动了位置，其光线等其他都没有改变，后期处理得近乎天衣无缝，那么我是可以接受的，因为这个地方的确存在这种花。当然这个仅是我自己个人的后期尺度，有些朋友可能不这么认为。","b":false,"xe":"For example, what I consider realistic landscape photography is not moving a waterfall from one place to another, or grafting a peak from here onto there — that violates the authenticity of scenery. But from the angle of pictorial aesthetics, slightly moving a flower shot near the location — with its light unchanged and the retouching seamless — is acceptable to me, because that flower does exist there. Of course, this is only my personal post-processing threshold; some friends may disagree."},{"t":"h","x":"光线的匹配","xe":"The Matching of Light"},{"t":"p","x":"不管是创意类型的，还是偏写实性的风光摄影作品，都会遵循光线，光学规律，这一点也同样很重要。摄影是光的艺术，如果违背了光学规律这点，整张图片将会分崩离析，不再具有任何意义，只是单纯的一个拼凑品。","b":false,"xe":"Whether creative or realistic, landscape works must obey light and optical laws — this is equally important. Photography is the art of light: if an image violates optical laws, it falls apart and loses all meaning, becoming a mere collage."},{"t":"img","f":"img-08","w":640,"h":465},{"t":"p","x":"右图地景是顺光，天空换成逆光，你觉得还自然么？还遵循光线规律么？我不认为。","b":false,"xe":"In the right image, the foreground is lit from the front while the sky is replaced with a backlit one — does that still look natural? Does it obey the laws of light? I don't think so."},{"t":"p","x":"我见过有不少把整个天换掉的风光图片，其实我对换天并没有太大意见，尽管我还是持保留意见。如果能把光线匹配上，并且后期处理得自然顺眼，换天真的没有任何问题，毕竟天空云彩是不断变化的，没有任何两个时刻的天空是完全一样的（完全无云无光的夜晚星空、银河除外，这也是为什么我甚少拍无云无光线、单纯银河星空的图片原因）。如果不能把光线匹配上，后期不能处理得自然顺眼，那我觉得这是画蛇添足。甚至有不少把整个天都换掉的风光图片，地景明明是顺光，天空却是逆光或侧光，这不管后期如何厉害，都并不能调整和谐以及匹配的。对于换天，能把光线匹配上，并且后期处理得自然顺眼的可能只是部分例子，所以我还是持保留意见。","b":false,"xe":"I have seen quite a few landscape images with the entire sky replaced. I don't have a big problem with sky replacement per se, though I still reserve judgment. If the light can be matched and the post work looks natural, replacing the sky is really no problem — after all, clouds are constantly changing, and no two moments of sky are exactly alike (except a completely cloudless, lightless night sky or Milky Way — which is why I rarely shoot pure Milky Way images without clouds or light). But if the light can't be matched and the result doesn't look natural, it is drawing legs on a snake. I have even seen many sky-replaced landscapes where the foreground is front-lit but the sky is backlit or side-lit — no amount of post skill can harmonize that. For sky replacement, only some examples manage to match the light and look natural, so I still reserve my opinion."},{"t":"h","x":"关于焦距合成 和变形（Warping）","xe":"On Focal-Length Blending and Warping"},{"t":"img","f":"img-09","w":640,"h":425},{"t":"img","f":"img-10","w":640,"h":955},{"t":"p","x":"也许你在最近一两年听过很多遍 “焦距合成”这个词，也有不少人在使用这一技术。我个人认为要十分谨慎地使用这一技术，因为镜头的原因，镜头里面景物位置的排列已经是定好的，近景、中景、远景的位置以及大小比例都已经被镜头“设定”好了。举个例子，假设现在在拍摄一个山地加河流的场景，如果把镜头拉得太近拍摄山峰，然后后期把这张的山峰和之前广角拍好的近景拼凑起来，很容易造成画面中近景、中景、远景的位置和大小比例失衡，有些时候甚至没有了中景，造成一种像复制粘贴的错觉，我觉得这是要避免的。中景和两张不同焦端拍摄的片子拼合在一起的过渡区域十分重要，如果没有适当的中景以及过渡区域，我认为不做焦距合成比做焦距合成要好。","b":false,"xe":"Perhaps you have heard the term 'focal-length blending' many times in the past year or two, and quite a few people use this technique. Personally, I think it must be used with great caution. Because of the lens, the arrangement of elements in the frame is already fixed: the positions and size ratios of foreground, midground and background are all 'set' by the lens. For example, when shooting a mountain-and-river scene, if you zoom in too close to shoot the peaks and then merge that with a previously shot wide-angle foreground, the positions and size ratios of foreground, midground and background easily fall out of balance — sometimes the midground even disappears, creating an illusion of copy-paste, which I think should be avoided. The midground and the transition zone where two frames of different focal lengths join are critical. Without a proper midground and transition area, I believe it is better not to do focal-length blending at all."},{"t":"p","x":"关于变形（Warping), 变形工具也同样是一把双刃剑，用得好可以更加还原现场的感觉，用得不好，直接毁掉图片。我看过有不少把景物拉得过头的例子。","b":false,"xe":"As for warping, the warp tool is also a double-edged sword: used well, it can better restore the feeling of the scene; used badly, it ruins the image outright. I have seen many cases of scenery stretched too far."},{"t":"img","f":"img-11","w":640,"h":427},{"t":"img","f":"img-12","w":640,"h":495},{"t":"p","x":"你认为下边图片里的山峰自然么？我不认为。","b":false,"xe":"Do you think the peaks in the image below look natural? I don't."},{"t":"h","x":"结尾","xe":"Conclusion"},{"t":"p","x":"艺术总是在不断变化以及进化，摄影同样如此。公众的看法普遍落后于艺术水平，但最终大多数人会接受并尊重数字化摄影艺术，并意识到现实与摄影之间的关系并不会因这些变化和进化而消失。至少我认为偏写实的风光摄影后期的尺度是尊重现场和还原现场感受，而我相信这一点始终没有改变。不过，可以预见的是，还有一些人仍然坚持认为直接来自相机的图像是唯一的“真实”照片，而其他所有东西都被归类为ps修改和操纵。那些拒绝发展和接受新方法的人已经过时，没有人会回到过去，并且消除数字化后期处理，它已经成为摄影中不可磨灭的一部分。所以我们不妨接受这一事实，重新衡量自己对于后期的尺度，并学会将它作为艺术的一部分。","b":false,"xe":"Art is always changing and evolving, and so is photography. Public opinion generally lags behind artistic progress, but eventually most people will accept and respect digital photographic art, and realize that the relationship between reality and photography will not disappear because of these changes. At least for me, the threshold of realistic landscape post-processing is respecting the scene and restoring the feeling of being there — and I believe that has never changed. It is foreseeable, though, that some people will still insist that an image straight out of the camera is the only 'true' photograph, while everything else is classified as PS manipulation. Those who refuse to evolve and accept new methods are outdated; no one will go back to the past and abolish digital post-processing — it has become an indelible part of photography. So we might as well accept this fact, re-measure our own post-processing thresholds, and learn to treat it as part of the art."},{"t":"h","x":"极影AdventureX","xe":"Jiying AdventureX"},{"t":"h","x":"极限挑战","xe":"Extreme Challenges"},{"t":"h","x":"极致影像","xe":"Extreme Imagery"},{"t":"h","x":"极客分享","xe":"Geek Sharing"},{"t":"p","x":"http://www.theadventurex.com","b":false,"xe":"http://www.theadventurex.com"},{"t":"img","f":"img-14","w":708,"h":846}],"titleEn":"On Restraint in Landscape Photography Post-Processing"}