{"slug":"potala-palace-post","title":"从游客照到“艺术照”，后期思路与技巧分享！","author":"Thomas看看世界","date":"2023-11-19","wechat":"https://mp.weixin.qq.com/s?__biz=MzI4NDA5MzE5NQ==&mid=2247498717&idx=1&sn=3fa9db164d0653bb65e1bc11bbcbaca0&chksm=eb8205b9dcf58cafbb798dc4f082231ab84d4462a11258294cd9b5c0acfa4997edc7ab3f3ac5&scene=21#wechat_redirect","blocks":[{"t":"p","x":"摄影之所以能成为艺术，就是因为前期拍摄时体现了摄影师的观察，后期调色时融入了摄影师的思考。","b":false,"xe":"Photography can become art because the capture embodies the photographer's observation, and the color grading blends in the photographer's thinking."},{"t":"p","x":"在今天的教程中，Thomas就会以一张布达拉宫的照片为例，分享是如何把它处理的更加的庄严崇高的。","b":false,"xe":"In today's tutorial, Thomas uses a photo of the Potala Palace as an example, sharing how it was processed to feel more solemn and sublime."},{"t":"img","f":"img-01","w":1080,"h":720},{"t":"p","x":"从游客照到“艺术照”，这些后期思路与技巧相信会对大家有用！","b":false,"xe":"From tourist snapshot to 'work of art' — these post-processing ideas and techniques will surely be useful to you!"},{"t":"img","f":"img-02","w":1080,"h":720},{"t":"h","x":"视频","xe":"Video"},{"t":"bili","bv":"BV1Cw411N7t1","bpic":"bili-1","bt":"从游客照到“艺术照”，后期思路与技巧分享！"},{"t":"p","x":"这一篇是上面视频的完整图文整理。一张「游客照」如何变成「艺术照」？Thomas 以自己拍摄于西藏拉萨纳金路的布达拉宫照片为例，把前期的机位与光线选择、中期的裁剪与 ACR 影调色彩定调、后期的局部蒙版与 PS 精修，一步步演示了出来——目标只有一个：让这座宫殿显得更加庄严崇高。下文按视频顺序整理，关键参数面板与蒙版状态均有截图对照。","xe":"This is the fully illustrated companion to the video above. How does a tourist snapshot become a work of art? Using his own photo of the Potala Palace — taken from Najin Road in Lhasa, Tibet — Thomas walks through the whole journey: choosing the vantage point and the light, cropping and building the tonal skeleton in ACR, then local masks and fine finishing in Photoshop. The single goal throughout: make the palace feel more solemn and sublime. Everything below follows the video in order, with parameter panels and mask states captured as screenshots.","b":false},{"t":"p","x":"先看成片。下面这张是最终效果——宫殿被顶光照亮、背景雪山圣洁、地面沉稳安静（视频 10:30 处）；而没做处理的原片，还是房屋杂乱、天空抢眼的「游客照」状态。两者之间隔着的就是整期教程。","xe":"Start with the finished image: the palace kissed by top light, snowy peaks sacred behind it, the ground calm and quiet (at 10:30 in the video). The untouched original, by contrast, is still a tourist snapshot — cluttered buildings, a sky that steals the show. Everything between the two is what this tutorial covers.","b":false},{"t":"img","f":"v13","w":852,"h":480},{"t":"h","x":"01 前期：纳金路的等待与选片","xe":"01 On Location: Waiting and Selecting at Najin Road"},{"t":"p","x":"去拉萨之前，Thomas 就想拍一张非常有庄严感的布达拉宫照片。拉萨群山环绕，只要找到一个背后正好是山峰的机位，冬天山峰覆雪，雪山的庄严感、崇高感就能与宫殿互相映衬——最终他选定了纳金路这个机位（视频 0:31 处）。","xe":"Before even arriving in Lhasa, Thomas already wanted a deeply solemn photo of the Potala Palace. The city is ringed by mountains, so all he needed was a vantage point with a peak right behind the palace — and in winter those peaks carry snow, their solemnity echoing the building (at 0:31 in the video). He settled on the spot along Najin Road.","b":false},{"t":"img","f":"v01","w":852,"h":480},{"t":"p","x":"日出时分他连拍了一整组照片，选片的标准来自光线的「时间差」：一开始只有背后的雪山被照亮，宫殿金顶还没亮，主体不够突出；而等主体被照亮之后，下面的楼房也会跟着亮起来——这些房屋本就稍显杂乱，一旦被照亮，后期再压暗就会显得不自然（视频 0:57 处）。所以他最终选的，是「宫殿刚刚被照亮、杂乱房屋还沉在阴影里」的那个瞬间（视频 1:12 处）。","xe":"He shot a whole series through sunrise, and the selection criterion came from a gap in the light's timing: at first only the snowy peaks behind were lit while the palace's golden roofs stayed dark, leaving the subject weak; but once the palace caught the light, the buildings below lit up too — cluttered blocks that look unnatural if you darken them afterwards (at 0:57 in the video). So the chosen frame is the exact moment when the palace has just caught the light and the messy houses are still sunk in shadow (at 1:12 in the video).","b":false},{"t":"img","f":"v02","w":852,"h":480},{"t":"img","f":"v03","w":852,"h":480},{"t":"h","x":"02 裁剪与影调：先做减法","xe":"02 Crop and Tonal Skeleton: Subtract First"},{"t":"p","x":"这张照片用中画幅拍摄——画质比全画幅好一点，劣势是焦段不齐全：调到最长的 100mm 依然不够，只能裁剪（视频 1:44 处）。Thomas 的照片几乎都用 3:2 的比例；裁的时候去掉前景多余的屋顶，但保留一部分地面，把布达拉宫放在画面中间偏上，天与地大致形成三分法（视频 2:19 处）。","xe":"The photo was shot on medium format — slightly better image quality than full frame, with the drawback of a limited focal range: even at its longest 100mm the framing fell short, so a crop was unavoidable (at 1:44 in the video). Thomas crops almost everything to a 3:2 ratio; here he trimmed the cluttered rooftops in the foreground while keeping a strip of ground, placing the palace center-upper with sky and ground roughly on thirds (at 2:19 in the video).","b":false},{"t":"img","f":"v04","w":852,"h":480},{"t":"p","x":"Camera Raw 里的影调步骤以曲线为核心：先拉一条 S 型曲线，极大增加画面对比度；再把最左边代表黑场的点向上提——黑场一提，暗部对比度降低、细节糊成一团，照片下方那些杂乱的楼房就「化」进阴影里，不再抢眼（视频 2:48 处）。这里的暗部丢失是故意的：牺牲看不清的细节，换取画面的干净。","xe":"In Camera Raw the tonal work centers on Curves: first an S-curve for overall punch, then the black point at the far left is lifted — with it, shadow contrast drops and shadow detail melts together, so the cluttered buildings at the bottom \"dissolve\" into the dark and stop competing for attention (at 2:48 in the video). The lost shadow detail is deliberate: sacrifice what the eye cannot read anyway, and buy a clean frame with it.","b":false},{"t":"img","f":"v05","w":852,"h":480},{"t":"h","x":"03 色彩定调：庄严感的底层逻辑","xe":"03 Color Direction: The Logic of Solemnity"},{"t":"p","x":"庄严神圣的感觉，基底要暗、要低饱和、要沉稳；如果整张照片又亮又饱和，就会显得轻飘。但主体必须保持亮和高饱和，才能突出、显得辉煌（视频 3:27 处）。落实到 HSL：蓝色饱和度大幅降低（不然天空抢戏），暖色的明亮度和饱和度则增加（视频 3:14 处）——一压一提，冷色退后，暖色前进。","xe":"A sacred, solemn mood needs a dark, desaturated, grounded base; a bright, saturated photo reads as flighty. But the subject must stay bright and saturated to stand out and glow (at 3:27 in the video). In HSL terms: pull blue saturation down hard — or the sky steals the show — and raise the luminosity and saturation of the warm tones (at 3:14 in the video). Cool colors retreat, warm colors advance.","b":false},{"t":"img","f":"v06","w":852,"h":480},{"t":"p","x":"再往下是校准面板的经典操作：蓝原色色相往左移、红原色色相往右移，画面里绝大部分颜色会被统一成青色和橙色两种色调，看起来非常舒服（视频 4:10 处）。这一步在 ACR 里做时整体暖调有点太偏红，Thomas 留到 PS 里再修正。青橙打底加上冷暖明度的反差，庄严感的色彩框架就立起来了。","xe":"Below that sits the classic Calibration panel move: shift the blue primary's hue left and the red primary's hue right, and most colors in the frame unify into two families — teal and orange — which simply looks good (at 4:10 in the video). Done in ACR the warm cast leaned a bit too red, so Thomas saved the fix for Photoshop. With teal-orange as the base plus the cool-warm contrast in brightness and saturation, the color framework of solemnity is in place.","b":false},{"t":"img","f":"v07","w":852,"h":480},{"t":"h","x":"04 局部蒙版：天空与地面的层次","xe":"04 Local Masks: Layering Sky and Ground"},{"t":"p","x":"进入局部蒙版（视频 4:45 处）。第一步压暗天空：新建蒙版选中天空，把曝光降下来——天空太亮会比布达拉宫更抢眼；同时天空里偏黄的暖色不少，整体加一些冷色，觉得饱和度太高就再降一点，但核心始终是降曝光（视频 5:17 处）。","xe":"Then come the local masks (at 4:45 in the video). Step one, darken the sky: create a mask over it and pull the exposure down — a sky brighter than the palace would dominate the frame. The sky also carries a fair amount of warm yellow, so cool tones are brushed in; if that gets too saturated, dial saturation back, but the core move is always the exposure drop (at 5:17 in the video).","b":false},{"t":"img","f":"v08","w":852,"h":480},{"t":"p","x":"接着做几层线性渐变，避免天空被压成死板一块，保留自然的明暗过渡；Thomas 遵循「多次少量」的原则，分几笔把天空压到位（视频 5:47 处）。然后处理地面：同样降曝光，而且光降曝光和高光不够，得降得更多——这一步他把曝光降了很多，副作用是底部黑得几乎没有细节，不像有阳光的画面，于是再把对比度稍稍降低，黑色色阶往上提、高光往下压，让暗部「隐约看得到细节，又不突兀」（视频 6:26 处）。","xe":"Next, a few linear gradients keep the darkened sky from becoming a flat slab, preserving natural transitions; Thomas works by \"many strokes, small amounts\" until the sky sits right (at 5:47 in the video). Then the ground: exposure down again, and lowering exposure and highlights alone is not enough — this pass drops exposure hard, which risks a bottom that is black and detail-free, implausible under sunlight. So he softens the contrast slightly, raises the blacks, lowers the highlights — shadows that can be faintly read, yet never jarring (at 6:26 in the video).","b":false},{"t":"img","f":"v09","w":852,"h":480},{"t":"img","f":"v10","w":852,"h":480},{"t":"h","x":"05 PS 精修：分离主体，点亮金顶","xe":"05 In Photoshop: Separating the Subject, Lighting the Roofs"},{"t":"p","x":"进入 PS 后，先用色彩平衡给中间调加冷色、高光加暖色（视频 7:27 处）。接下来是最费工夫的一步：慢慢把主体布达拉宫抠出来，对背景进行压暗——主体亮、背景暗，主体与背景完成分离（视频 7:35 处）。压暗背景用的是色相/饱和度工具里的减明度：它在降低亮度的同时也会降低饱和度，背景明度和饱和度都比高饱和、高亮度的宫殿低一截，主次更加分明（视频 8:07 处）；再整体来一条提亮中间调的曲线，画面不至于太黑（视频 8:31 处）。","xe":"In Photoshop, Color Balance first cools the midtones and warms the highlights (at 7:27 in the video). Then the most laborious step: patiently cutting the palace out from its background and darkening that background — a bright subject over a dark ground completes the separation (at 7:35 in the video). The darkening uses Hue/Saturation with minus Lightness, which lowers saturation at the same time: the background drops in both brightness and color while the palace stays vivid, sharpening the hierarchy (at 8:07 in the video). One more midtone-lifting Curves layer keeps the whole frame from going too dark (at 8:31 in the video).","b":false},{"t":"img","f":"v11","w":852,"h":480},{"t":"p","x":"色彩收尾针对第 03 章留下的「太偏红」：先微调白平衡，再用 HSL 把红色往橙色挪，然后单独把红墙提取出来，用可选颜色加强红色，让墙体更加金碧辉煌（视频 8:50 处）；把雪山提亮，并压低雪里黄色的饱和度，画面更舒服（视频 9:11 处）；最后觉得整体红、黄两色还是太饱和，再统一降一点——调整完成（视频 9:18 处）。","xe":"The color finish addresses that \"too red\" cast from chapter 03: nudge the white balance, shift red toward orange in HSL, then isolate the red walls and push their red with Selective Color until they glow golden and resplendent (at 8:50 in the video); brighten the snowy peaks and mute the yellow inside the snow for a more comfortable frame (at 9:11 in the video); finally the overall reds and yellows still feel too saturated, so a global trim finishes the edit (at 9:18 in the video).","b":false},{"t":"img","f":"v12","w":852,"h":480},{"t":"p","x":"回看成片：前期就规划好了「哪些地方应该被照亮」，后期把真实世界里必然存在的杂乱，通过压暗底部、统一色彩收拾干净。神圣感来自低饱和、低明度的冷色，与高饱和、高亮度的暖色互相烘托；金碧辉煌的墙壁再单独处理，画面因此有了层次，而不是所有景物混在一起。这就是后期的意义——让照片在真实的基础上，进一步融入你想表达的氛围和情绪，成为一张艺术品（视频 10:26 处）。","xe":"Look back at the final image: the light was planned on location — \"which parts should be lit\" — and post-processing tidied the clutter that the real world always contains, darkening the base and unifying the color. The sense of the sacred comes from desaturated, dim cool tones set against saturated, luminous warm ones; the resplendent walls get their own treatment, and the image gains layers instead of everything blending into a mess. That is what post-processing is for — on top of reality, fold in the atmosphere and emotion you intend, until the photograph becomes a work of art (at 10:26 in the video).","b":false},{"t":"quote","x":"1. 好照片从前期开始：找雪山作背景的机位，等「宫殿刚被照亮、杂乱房屋还沉在阴影里」的瞬间按下快门；2. 影调先做减法：3:2 裁剪、S 曲线加对比、黑场上提让暗部杂乱细节化入阴影；3. 庄严感的色彩逻辑：基底暗而低饱和（蓝色饱和度大降、校准面板青橙化），主体亮而高饱和（暖色提亮提饱和），红墙用可选颜色单独点亮；4. 局部蒙版多次少量：压暗天空与地面、线性渐变保留过渡，PS 里抠出主体压暗背景完成主次分离。","xe":"1. Great photos start on location: find a vantage point with snowy peaks behind, and trip the shutter at the moment the palace has just caught the light while the cluttered houses still sleep in shadow; 2. Subtract first in tone: a 3:2 crop, an S-curve for punch, and a lifted black point that melts messy shadow detail into darkness; 3. The color logic of solemnity: a dark, desaturated base (deep cuts to blue saturation, teal-orange via Calibration) with a bright, saturated subject (warms lifted in brightness and saturation) and red walls lit individually with Selective Color; 4. Local masks in small doses: darken sky and ground, keep transitions with linear gradients, then cut the subject in Photoshop and dim the background until the hierarchy reads."}],"titleEn":"From Tourist Snap to Art Photo: Post-Processing Ideas for the Potala Palace"}